
Clas S T N41H 
Book. - $ > 4J 



GjpghtN 



TO 



COPYRIGHT DEPOSIT. 



Advanced Elocution 



mi 

DESIGNED AS A PRACTICAL TREATISE 

FOR TEACHERS AND STUDENTS IN 1%0 L 



Vocal Training 
Articulation, Physical Culture & Gesture 

BY 

/ 

Mrs. J. W. Shoemaker 

Principal of The National School of Elocution and Oratory 
AIDED BY 

GEORGE B. HYNSON $> JOHN H. BECHTEL 



"Art does not pervert, but refines and exalts Nature, and it is only by a combination 
of the two that we can produce perfection in anything that is the workmanship of man." 

MURDOCK. 



Philadelphia 

The Penn Publishing Company 

1896 



TrtH-n 



?htf 



Copyright 1896 by The Penn Publishing Company 



PREFACE 



In these latter days much interest has been manifested 
in the subject of Elocution. To know what is the natural 
as well as the artistic way of expressing one's self, either 
by the voice or in gesture, is rapidly becoming a demand 
of the American people. This interest is seen and felt in 
colleges, in schools, and even in society. It is greater 
than any which has pertained to delivery since the 
days of Grecian and Roman oratory and acting. Truly 
it may be said that this is the Renaissance period in the 
history of Elocution, and the outlook is hopeful and en- 
couraging. It is evident also that teachers, however their 
methods may differ, are to-day centralizing about this ob- 
jective point — the enlargement and elevation of human 
personality through the proper cultivation of the power of 
expression. 

This book is not intended to introduce any new system, 
but simply to present in a more modern form, thoughts 
that are believed to be in touch w r ith all that has proved 
to be of value in things both new and old. 

In some degree it is a synthetization of the inheritance of 
the past and of the wealth of thought of the present, the 
latter crystallized from such writers and philosophers as 
Austin, Rush, Darwin, Delsarte, Engel, Brown, and others. 
Upon such a foundation, aided by an experience obtained 
in schoolroom and platform work, as well as in the every- 
day walks of life, has been framed a system or method 
which has proved to be helpful to the many pupils who 
have been under our special training. It is believed that 



4 PREFACE 

this advanced method will prove no less valuable to all 
who may be inclined to study these pages. At least it will 
be as valuable to a student as any work on a similar topic 
is, in the absence of the living instructor. 

Elocution is the art of speaking naturally and artistically. 
Training supplies to others that which the born orator pos- 
sesses under all circumstances, but which few persons ever 
indicate the possession of, until they have been taught 
what their resources are and have acquired skill to use 
these in their own delivery. It is true that in the matter 
of public speaking or delivery, as in all other pursuits, 
some will excel, but culture in this, as in all branches of 
education, is helpful to every one, and there is no person, 
unless he is physically disabled, who cannot be trained 
away from indistinct or defective enunciation, faulty tones, 
or ungainly, meaningless movements and attitudes. Any 
one who will make the effort may come to possess a 
pleasantly modulated and resonant voice, a distinct artic- 
ulation, and ease and grace of bearing, which if utilized 
only in the quieter walks of life, are in themselves an ac- 
complishment greatly to be desired. 

In regard to the selections contained in this volume, it 
has been the aim to choose such as are classic or standard, 
and at the same time interesting. They are divided into 
didactic, dramatic, oratorio, epic, lyric, grave and gay, and 
are suitable for reading, recital, declamation, and colloquy. 

Grateful acknowledgments are due to authors and pub- 
lishers for their courteous permission to use many of the 
selections. Acknowledgment is also made for the valuable 
assistance furnished by Professors John H. Bechtel and 
George B. Hynson. The former, from his careful study 
and his experience in teaching Orthoepy, has most accept- 
ably prepared the department of Articulation ; and the 
latter has no less ably prepared the department of Voice 
Culture. 



PREFACE O 

Believing the book will receive the recognition it merits, 
be that little 01 great, the author sends it forth with the 
humble request that a thorough inspection or a fair trial 
be given it before a judgment is pronounced. 

Mrs. J. W. Shoemaker. 
Philadelphia, October 1st, 1895. 



CONTENTS 



PAGE 

Expression 13 

Media of Expression 15 

VOCAL EXPRESSION 

The Voice 16 

Purity 18 

Flexibility 19 

Power 19 

Definitions 20 

General Observations 21 

Vocal Gymnastics 22 

Vocal Chart 23 

Vocal Practice 28 

Directions 29 

Breathing 30 

The Nose 32 

Exercises . . 32 

Special Exercises 34 

Inflection 35 

Shows Contrast 39 

Tells the Facts . 39 

Length of Slide Shows Importance of the Fact .... 39 

Straight Slides 40 

Inflections in Emotional Selections 41 

Sharp Angles and Continuous Wave Movements in the 

Slide - 43 

Long Rising Slide and Long Falling Slide 44 

Examples 47 

Quality 48 

Pure Voice 50 

Normal 50 

Orotund 53 

Pectoral 56 

Tremolo 58 

vii 



Vlll CONTENTS 

PAGB 

Impure Voice 59 

Aspirate * 59 

Guttural . . . . 60 

Nasal 62 

Falsetto . . . 64 

Oral 64 

Time 65 

Examples 66 

Pitch 70 

Examples 71 

Force, Volume, Intensity 74 

Examples 76 

Rhythm 78 

Time 80 

Accent 82 

Movement 83 

Tone Color , 83 

Enunciation 84 

Impersonation 87 

Examples 88 

Stress 91 

Cadence 91 

Remarks , , . 92 

VERBAL EXPRESSION 

Introductory 93 

Elementary Sounds 96 

The Alphabet 96 

Waves of Notation 96 

Digraphs 97 

Signs and Sounds 97 

Elementary 98 

Standard and Clipped Sounds 98 

Cognates 99 

Long and Short Sounds 99 

Discussion of Elementary Sounds 99 

Vowel Sounds 99 

Consonant Sounds 108 



CONTENTS IX 

PAGE 

Table of Equivalents 118 

Vowel Equivalents 118 

Consonant Equivalents 119 

Table of the Several Sounds Represented by the 

Same Symbol 121 

Vowel Symbols 121 

Consonant Symbols 122 

Unusual Sounds 123 

Consonant Combinations 127 

Initial Combinations 128 

Terminal Combinations 129 

Syllabication 136 

Accent 138 

Discriminative Accent 140 

Antithetical Accent 141 

Influence of Accent on Vowel Sounds 141 

Unaccented Terminal Syllables 147 

Phonetic Analysis 156 

Exercises and Rules 157 

General Exercises 168 

VISIBLE EXPRESSION 

Gesture 171 

Gymnastics , 172 

The Dress ' 173 

The Practice 174 

Educational Gymastics 175 

Nomenclature 176 

Positions 177 

Carriage of the Body 178 

Walking 181 

Sitting 184 

Rising • 184 

Courtesying 181 

Kneeling 184 

Bowing 185 

Free Work 185 



X CONTENTS 

PAGE 

Calisthenics, or Apparatus Work 198 

Wands 198 

Dumb-bells 209 

JEsthetical Gymnastics 221 

Relaxing Exercises 222 

Energizing or Fundamental Exercises 225 

Regular Exercises 227 

Opposition Exercises 231 

Principles for Basic Positions 235 

Exercises 236 

Principles for Head Attitudes 244 

Exercises 244 

The Arms 249 

Hand Indications 254 

Exercises 255 

The Countenance 259 

Relaxing Exercises for the Face 261 

The Eye 262 

The Mouth 263 

The Nose 263 

Facial Expression 264 

Laughter • 264 

Exercises 264 

Sorrow, Grief 266 

Exercises 266 

Anger 268 

Exercises 268 

Scorn 269 

Exercises 269 

Surprise 270 

Exercises 270 

Miscellaneous Exercises in Attitude, Gesture, and 

Facial Expression 271 

Summary 276 

Elocutionary Apothegms and Outlines 278 



CONTENTS XI 



SELECTIONS FOR READING AND RECITATION 

PAGE 

Afterwhiles James Whitcomb Riley 295 

Ancient Greek Chant of Victory . . . Felicia D. Hemans . . 314 

Astronomer's Vision, The . Trans, by Prof. Mitchell .... 289 

Boat Race, The James Hogg ..... 367 

Bob Cratchit's Dinner Charles Dickens .... 315 

Dangers to Our Republic ...... Horace Mann . » . . 335 

Despondent Inventor, The . • . • • E. Bulwer Lytton . . 308 

Destruction of Pompeii E. Bulwer Lytton . . 327 

Education Horace Mann .... 353 

Fire by the Sea, The Phcebe Cary 344 

Forsaken Garden, The Algernon C. Swinburne 310 

Freedom's Ahead Robert Buchanan . . . 300 

Good of It, The Dinah Muloch Craih . 309 

Good Son, The R. H. Dana 312 

Grave, The Washington Irving . . 358 

Hymns 

Saviour, I Follow on Hastings 386 

Lead, Kindly Light Cardinal Newman . . 387 

The Breaking Waves Dashed 

High Felicia D. Hemans . . 387 

Sometimes a Light Surprises . . . William Cowper . . . 388 

My Faith Looks Up to Thee . . Ray Palmer 389 

Awake, My Soul ........ Doddridge 390 

Abide With Me Lyte 391 

Rock of Ages Toplady ....... 392 

Prayer is the Soul's Sincere De- 
sire Montgomery 392 

My Country, 'Tis of Thee . . . S. F. Smith 393 

Softly Now the Light of Day . • Bishop Doane .... 394 

Knee-Deep in June James Whitcomb Riley. 332 

Land of the Leal, The Lady Nairn 355 

Lawyer's Lullaby, The F. H. Coggswell . . . 356 

Losses Frances Brown .... 352 

Man Overboard, A Victor Hugo 283 

Metamora to His Warriors 364 

Miller of Dee, The Eva Tj. Ogden .... 340 

Molly Carew Samuel Lover 359 

Mother's Lament, A William Wordsworth . 348 



Xll CONTENTS 

PAGE 

National Greatness John Bright 355 

Nature Designed for Our Enjoy- 
ment Henry Ward Beecher . . 293 

Old Daddy Turner 346 

0— U— G— II Charles B. Loomis . . . 32G 

Our Fallen Heroes Chauncey M Depew . . 304 

Power of Free Ideas, The George William Curtis . . 338 

Power of Music, The T. DeWitt Talmage . . . 350 

Prospice Robert Browning .... 357 

Queen Arjamand's Dagger Edwin Arnold 285 

Scripture Readings, Miscellaneous 396 

Shadow of the Cross, The .... Edwin Arnold 321 

Shakespearean Extracts 

Benedick's Soliloquy Much Ado About Nothing 371 

Constance's Denunciation of 

King Philip King John 372 

Katharine's Appeal to King 

Henry King Henry VIII ... 373 

Remorse of King Claudius . . Hamlet 374 

Portia's Speech to Bassanio . . The Merchant of Venice . 375 

Adam's Warning to Orlando . . As You Like It . . . r . 376 

Buckingham's Address on 

His Way to Excution .... King Henry VIII . . . 378 

The Meeting of Orlando and 

Rosalind ./Is You Like It 379 

Portia and Nerissa Regarding 

the Suitors The Merchant of Venice . 382 

Song of the Lotos Eaters Alfred Tennyson .... 291 

Success H.W. Longfellow .... 343 

Sunrise Edward Everett .... 320 

Tribute to Motherhood, A .... Alfred Tennyson .... 307 

Tribute to Woman, A Elizabeth Barrett Browning 337 

Under the Rod Mary B. Dana 362 

Union, The Oliver Wendell Holmes . 361 

Utilizing Our Failures Lyman Abbott 325 

Visit to Belle Yard, A Charles Dickens .... 297 

Why They Twinkle Oliver Wendell Holmes . . 306 



CONTEXTS Xlll 

CLASSIFICATION OF SELECTIONS 

NARRATIVE AND DESCRIPTIVE 

PAGE 

The Astronomer's Vision 2S9 

The Song of the Lotus Eaters 291 

A Visit to Belle Yard 297 

Freedom's Ahead 300 

Why They Twinkle 30ti 

The Despondent Inventor 308 

The Forsaken Garden 310 

Sunrise 320 

Destruction of Pompeii . 327 

The Power of Free Ideas 338 

The Fire by the Sea 344 

The Power of Music 350 

Losses 352 

The Boat Pace 367 

CHARACTERIZATION AND DIALECT 

The Good of It 309 

O— U— G— H 326 

Knee-deep in June 332 

Old Daddy Turner 346 

A Mother's Lament 348 

The Land o' the Leal . 355 

Molly Carew 359 

TENDER AND PATHETIC 

Afterwhiles 295 

A Visit to Belle Yard 297 

Freedom's Ahead 300 

Why They Twinkle 306 

The Forsaken Garden 310 

The Shadow of the Cross 321 

Old Daddy Turner 346 

A Mother's Lament 348 

The Land o' the Leal 355 

Pio«pice 357 

Under the Rod 362 



XIV CONTENTS 



DIDACTIC AND MORAL 

PAGE 

Nature Designed for Our Enjoyment 293 

The Good of It 309 

The Good Son 312 

Utilizing Our Failures . . . . . 325 

Education 353 

National Greatness 355 



REVERENT AND RELIGIOUS 

A Tribute to Motherhood 307 

The Shadow of the Cross 321 

The Fire by the Sea .... ■ 344 

Under the Rod 362 

Hymns 380 

Scripture Readings 396 

NATIONAL AND PATRIOTIC 

Our Fallen Heroes 304 

The Power of Free Ideas 338 

The Union 361 



DRAMATIC 

A Man Overboard 283 

Queen Arjamand's Dagger 285 

The Despondent Inventor 308 

Destruction of Pompeii 327 

The Boat Race 367 

Extracts from Shakespeare 371 



DECLAMATORY AND FORENSIC 

Utilizing Our Failures 325 

Dangers to Our Republic . 335 

Education 353 

National Greatness 355 

The Grave 358 

Metamora to His Warriors 364 



CONTENTS XV 



ORATORICAL AND SUBLIME 

PAGE 

Our Fallen Heroes 304 

Sunrise 327 

Success 343 

The Power of Music 350 



COLLOQUIAL 

A Visit to Belle Yard 297 

Bob Cratchit's Dinner 315 



MIRTHFUL 

Bob Cratchit's Dinner 315 

O— U— G— H 326 

The Miller of Dee 340 

The Lawyer's Lullaby 356 

Molly Carew 359 

MISCELLANEOUS 

Ancient Greek Chant of Victory 314 

A Tribute to Womanhood 337 

Losses ...» 352 



ADVANCED ELOCUTION 



EXPRESSION 

" Self-culture means perfect symmetrical development of all our powers of 
body, mind, and soul."— Goethe. 

Man is an embodied mystery. Fashioned of earth, 
endowed with great possibilities, made in the image of his 
Divine Artificer — he is an enigma to himself. 

Concerning him, scientists and theologians have thought 
and written and taught, and while intrinsic knowledge has 
been attained thereby, yet the fact remains that it is not 
known where or how one part of man's nature ends and 
another part begins. It is, however, an almost universal 
belief that man possesses a three-sided nature, and that one 
side or another predominates according as that individual 
side is cultivated ; or the three sides may be equally cul- 
tivated, resulting then in the highest type of the human 
race. Applying this idea of the Trinity of man to the 
teaching of Expression, man, according to Delsarte, pre- 
sents himself in three phases, namely : " Sensitive, intel- 
lectual, and moral — life, the sensitive or physical phase ; 
mind, the mental phase; and soul, the moral or spiritual 
phase ; and in our finite condition no one of these exists 
separate from the other. They interpenetrate, interlace, 
correspond with and embrace each other," hence they act 
and react each upon the other, constituting as a whole the 
Ego, the Personality. This Personality makes known to 
the outward world the facts or impressions received there- 
from, as well as the impressions which come through 

13 



14 ADVANCED ELOCUTION 

inward light and experience, by means of the physical 
organism, and this manifestation is termed Expression. 
In other words, man receives impression, which he may 
utilize for the benefit or bane of others, through expression, 
and this in turn may act upon another as impression, and 
so on. How important then becomes this axiomatic 
statement, " Exalt the rank of the personality — that is, 
enrich the mind with knowledge, and the heart with all 
that is beautiful and good, and train the body in all its 
parts to manifest the capabilities of the other two." 

In accord with the Three States of the Being, Delsarte 
formulated the following in regard to the Laws of Motion 
as applied to Expression : " Man, by his finite conditions, 
is restricted in his movements, and no matter what these 
conditions are, whatever he manifests, must be manifested 
by one only of the following modes of motion, or by a 
blending of two, or of all of them, namely : Eccentric, Con- 
centric, and Normal, or Poise. Eccentric, from a centre 
outward ; Concentric, toward a centre, or inward ; and 
Normal, or Poise, centered or balanced.* The Vital States 
or phases of the Being manifest themselves through Eccen- 
tric modes of motion, the Mental States or phases through 
Concentric modes of motion, and the Moral 'through 
Normal, or Poise." This thought must not be lost sight 
of, however, that when there is a preponderance of mani- 
festation of one side of the Being the others are there to 
sustain an equilibrium. 

Note. — A very valuable exercise is to have the pupil present, at 
this point of his progress, original or quoted examples, illustrative 
of the above-named laws. 

* " We believe Delsarte to have been the first to apply the three modes of mo- 
tion to the Three States of the Being. This is his great discovery, and is at the 
centre of the Delsarte System. Yet we fancy that a philosophic mind reading 
Sir Isaac Newton's ' Three Mechanical Axioms/ will be strongly impressed 
with the idea that the great French teacher found the data for his Laws of 
Motion, as applied to Expression, in the masterly formulae of the great English 
thinker." — "Philosophy of Expression," by Moses True Brown. 



MEDIA OF EXPRESSION 15 

It has long since been demonstrated that in order to 
become a finished speaker or reader something more is 
needed than merely to be born, yet there are those to-day 
who believe that if a proper conception of the thought or 
feeling be obtained, true artistic elocution is certain to 
follow. On the contrary, it is necessary to assist Nature 
by careful cultivation in all that pertains to Expression if 
the latter is to be idealized into its highest forms of beauty, 
grace, and power. Mind and spirit communicate them- 
selves rapidly and often passionately to the outer world 
through the body medium, in ways which maybe natural, 
but which are by no means perfect or graceful expressions 
of Nature ; " for Nature may readity run into deformity, 
and it must be the purpose of Art to remove and conceal 
all deformities, for Art is called in not to pervert, but to 
refine and exalt Nature." 



MEDIA OF EXPRESSION 

"A certain mechanical preparation must precede every art. 1 ' — Goethe. 

The media of Expression, through the physical nature, 
are vocal, verbal, and visible or pantomimic. 

Vocal includes all that pertains to voice ; verbal, to the 
use of words ; and visible, to that which relates to attitudes, 
bearings, motions of the human form, together with ex- 
pressions of the countenance. 

Finished, artistic, and effective media of Expression are 
attained first, by means of vocal and verbal exercises 
and educational and sesthetical gymnastics ; and, secondly, 
by the study of the principles or laws of expression and 
their application through practice. 

When the avenues of expression have been trained, 
the processes by which this training has been reached may 
be lost sight of; for this " strength at the centre," as it 



16 ADVANCED ELOCUTION 

were, " gives freedom to the surface," and so, without loss 
either of spontaneity or individuality, the speaker or 
reader can safely trust the conveyance of his thoughts 
and emotions to his cultured media. 



VOCAL EXPRESSION 

"The Cultivated Voice is like an orches'ra. It ranges high, intermediate, or 
low, unconsciously to him who uses it, and men listen quite unaware lhat they 
have been bewitched out of their weariness by the charms of a voice not artifi- 
cial, but ma le, by assiduous training, to be his second nature."— Beecher. 

The voice is the chief medium of human expression. 
Its use is general and constant. It is the great avenue 
through which the impressions of all animal life are con- 
veyed. As these impressions are more varied and exalted 
in man, he has developed, enlarged, and refined this 
medium, so that through it he may express a variety of 
sentiment which is almost without limit. To many, voice 
is almost the exclusive agent of Expression, and it is the 
main instrument of all. 

Literature itself reaches its highest conception when 
translated into living speech. The great poems and dramas 
are interpreted by the voice of the reader at the fireside, 
on the public platform, or in the crowded theatre. These 
productions live because their words have trembled on 
many tongues and because the voice of man has brought 
them anew into human relationship and sympathy. 

Even our silent reading owes much of its interest and 
power to vocal expression. We translate the formal sym- 
bols of the page into the varied forms of the living voice. 
Tones are imagined, inflections are conceived, and the 
whole is clothed with the garment of animated speech. 
The reason for this is obvious. The normal and ordinary 



VOCAL EXPRESSION 17 

method of expression is vocalization, and these printed 
symbols are merely suggestive; the imagination easily 
supplies the remaining elements. 

Possibly we may think without words, but thought i3 
always clothed in some kind of symbols, and thus is pre- 
sented in tangible shape, so that the mind may cognize it. 
Therefore we think in tones. A thought may be conceived 
and instantly a word is uttered to represent it. But the 
utterance of that word may convey an impression at vari- 
ance with its ordinary signification. Not only has the 
word been conceived, but the tone also. He who reads 
the words of Cassius, "And this man is now become a 
god," and fails to mentally interpret the tones, also fails 
to comprehend the meaning of the lines. 

By means of the voice man runs the whole gamut of 
the soul's varying phases. It informs, it interprets, it 
persuades, and denounces. It bears us aloft on the wings 
of its melody; it pleases and thrills. No agency and no 
art can impress what lies beyond the realm of the well- 
attuned voice. 

It is the least cultivated of all the expressive agents. 
By this indifference we seem to say that while every other 
power, mental and physical, reaches its highest possibili- 
ties through systematic and intelligent cultivation, the 
voice is the one exception, and that its use comes by 
Nature. The intellect comes by Nature, so do the imagi- 
nation and the emotions. Their proper and fuller exer- 
cise comes through cultivation. 

We are students of Expression throughout life. The 
acquisition of knowledge gives rise to the desire to express 
it. Now somewhere in the mind are stored up all the 
words, tones, and other symbols which we employ in 
expression. Before they can be uttered the power of 
selection must be exercised ; that is, words and tones 
must be conceived before they can be given. The 
2 , 



18 ADVANCED ELOCUTION 

materials may be poor ; they may be limited, and the 
selection may not be judicious. These are the very 
reasons for the study of the voice for speech. 

Some voices are musical, but lack variety. Some hav- 
ing variety are devoid of power. Many violate physical 
law and offend the ear. Some run in a groove from which 
they never deviate. Many are marred by excessive inflec- 
tion ; others have almost none. 

It is to correct these faults, to develop the good qualities, 
to acquire greater power, and to do the work with a mini- 
mum effort that the student of voice should apply him- 
self. 

PURITY 

A pure voice is one of any given power which is made 
without friction. It must be produced with the least 
physical effort. Voice is the result of muscular energy, 
as much so as the movement of the arm. But this energy 
should not exceed the minimum required, neither should 
it be manifest in those parts that perform their functions 
best when in a state of comparative repose. A voice may 
often be prejudged by the contortions of the face. 

A pure voice should not be more fatiguing than any 
other simple exercise ; indeed, it is only a phase of breath- 
ing. Proper use will not result in injury, but even limited 
exercise in a faulty manner may be productive of serious 
results. Clergyman's sore-throat is caused by using the 
voice in an unnatural manner. 

A pure tone is a language in itself. It is the expres- 
sive agent of all pure sentiment. Discords in nature 
represent violent, harsh, and unpleasant things. Contrast 
the meanings of the following sounds : a laugh and a 
scream ; the song of the mocking-bird and the raven's 
croak ; a dog's joyous bark and his growl; a note of song 
and a groan; the hum of bees and the clangor of fire- 



VOCAL EXPRESSION 19 

bells ; the driver's whistle and the rattle of his wagon — 
each of these is a language as definite as words, and pro- 
duces its certain peculiar impression. 

FLEXIBILITY 

No voice can long continue to please and to impress 
unless it has power to represent all the varying phases of 
thought and emotion. It must at all times perfectly rep- 
resent the sentiment. Light and shade are as much feat- 
ures of speech as of painting. Monotony must be avoided. 
The sentiment dictates the shading and variety, but if the 
instrument is not properly attuned it will fail to respond 
in a satisfactory manner. 

Thought and feeling cannot create a vocabulary ; nor 
can they bring into being inflections, varieties of tone, and 
harmonies of which the speaker is ignorant. The senti- 
ment may demand all the powers we possess, but it cannot 
create new one3. Often we use words and tones, not be- 
cause they accurately express our meaning, but because 
they are the best we have. 

Monotony may arise from any one of three causes : the 
sentiment may be inherently devoid of variety; the voice 
may have been used in a certain w T ay so long that it has 
worn for itself a groove ; or it may arise from a lack of ap- 
preciation of tone values. The latter may be termed a 
lack of ear. If we would make this more responsive we 
must cultivate it, and this w T e may do by practice. 

POWER 

Our principal vocal school is conversation, and the 
chasm between this and public speaking is very wide, and 
is rarely bridged without much cultivation or years of 
practice. Every element that enters into public delivery 
has its basis in conversation, but when w T e face the great 



20 ADVANCED ELOCUTION 

audience all these qualities must be broadened, adapted 
and ennobled. 

True Expression demands intelligence, beauty, and 
strength. It has its fruition in the last. The voice 
must elevate, denounce, and command. It must leap 
from pew to pew, and from balcony to balcony. It may 
tremble with the intensity of earnestness. It may ring 
in the trumpet notes of command, or thunder in denun- 
ciation. It is the " harp of a thousand strings " whose 
chords were strung by the hands of Deity, and we are the 
masters with our hands upon the strings. 

DEFINITIONS 

Voice is that sound which is made in the larynx. Whether 
it be high or low, soft or loud, pure or impure, resonant 
or hollow, the seat of production is the same. It owes its 
different qualities to the modifications and changes of the 
entire vocal machinery. All kinds of voice are produced 
by a vibration of the vocal bands. 

Voice is vocalized breath. Its production and control 
depend upon the proper command of respiration. The 
lungs must be properly filled and expiration intelligently 
directed. Breath is the material of which voice is made. 
Respiration for vocal purposes should be studied. 

Voice is that phase of muscular activity ivhich results in 
sound. Breath cannot be taken into nor expelled from 
the lungs without muscular action. This action also 
controls the vocal bands, the movements of the jaw and 
mouth and the expansion of the throat. We should, 
therefore, direct our attention to the exercise of these 
factors. 

Voice is the human organ of expression through ivhich the 
soul manifests itself in sound. If we would call forth its 
harmonies we must first assume the mental phases which 
will demand them. A perfectly cultivated voice responds 



VOCAL EXPRESSION 21 

instantly to the demands of thought and emotion, but the 
master mind at the key-board can draw forth only the 
melodies that it has already conceived. The tendency of 
the voice is to be truthful, but it cannot express that 
which has not been created. 

Voice is the result of a psychic condition which manifests 
itself in the physical nature, causing the air to be expelled from 
the lungs through the larynx^ tensioning and controlling the 
vocal bauds, and thus setting in motion a volume of air which 
is modljied by the resonance cJtambers, and which, vibrating on 
the tympanum of the ear, is called sound. 

GENERAL OBSERVATIONS 

All great powers are elusive and are not susceptible of 
measurement. Rules can be presented for the cultivation 
of the voice, but they will of necessity be varied again and 
again as experience demands. The artist adds a dash of 
color, he knows not why, but is pleased with the effect, so 
we must add to and take from rules when their absolute 
observance would not satisfy the cultured ear. The 
principles here set forth are not intended to be absolute, 
but rather suggestive. They are the result of years of 
experience, and it is believed that they will be helpful. 

It is impossible to reduce to writing what can be fully 
explained by the teacher, and there are mechanical diffi- 
culties that cannot be overcome by the printer's art, as 
no symbols can express the exact qualities in the tones 
of the speaking voice. The reader and student are fur- 
nished with a number of exercises which are the result of 
much careful thought, and the value of which has been 
tested by many pupils. 

Each branch of the subject is considered under a separate 
head for the sake of convenience. The pupil or teacher 
will find it profitable to select portions of different exer- 
cises for each lesson, rather than to proceed chapter by 



22 ADVANCED ELOCUTION 

chapter. These exercises may be varied in many ways for 
the sake of freshness or fullness, and many new ones may 
be prepared. 

Of the exercises presented each, it is believed, has a value. 
When oP 1 material is used it is retained because of its 
worth. Many well-known principles may greet the 
student in a new, and, it is hoped, a more attractive guise. 
Whatever new material is added is not as an experiment ; 
but because its utility has been proved. 

No cuts or diagrams are employed to illustrate the use 
of the vocal organs. The student who wishes to under- 
stand fully their mechanism will find the subject more 
comprehensively treated in works on anatomy and physi- 
ology than is possible here. 

The cultivation of voice should begin with the vowel 
sounds, in which sounds it may be studied apart from the 
other elements of the words. The beauty of a language con- 
sists chiefly in the utterance of its vowels. The consonants 
are but little influenced by pitch, inflection, force, and time. 
Any movement that may be made in the utterance of a 
word can be made with the vowels, and upon the correct 
utterance of these few sounds the control of voice will 
chiefly depend. 



VOCAL GYMNASTICS 

The student should assume an erect position ; shoulders 
and hips back, head in line, chest easily expanded. 
The position should not be stiff. Keep the lungs easily 
inflated. The whole body must be active. Endeavor to 
conceive each sound accurately before its utterance, and 
direct the attention toward giving each sound exactly as 
required, and then determine to improve w T ith each exercise. 



VOCAL GYMNASTICS 



23 



Careless or indifferent practice is worthless. Remember 
that the ability to conceive sounds is developed along 
with their utterance. 

VOCAL CHART 

The vocal chart on the two following pages is not in- 
tended to be complete, but merely suggestive. The variety 
of voice movement is almost endless. Many of these exer- 
cises are extremes. The object in practicing them is to 
render the voice pure and to break up monotony. Three 
principles are represented, Pitch, Stress (or force), and 
Directions of Movement (musical and inflected notes). 
With these as a basis, every student may construct a chart. 

Directions for Chart, Part 7", page 2 If. 

X. — Commence with the line marked X and sing the 
musical note Do, holding the note about four seconds. 
Repeat, holding the note about two seconds. Repeat, 
holding through one second. Repeat, making a quick, 
smooth, rounded sound. 

Remove the d, leaving o, and repeat as before. Take 
the vowels a, e, i, o, u, and go through the same exercise 
with each. 

Pronounce the five vowel sounds, giving each a quick 
rounded sound, making a musical note as in singing. 

1. Next take the line marked with figure 1 and repeat 
the five vowel sounds as above on the musical notes. 

Pronounce firmly the w r ord no. Remove the n, leaving o. 
Repeat o with the same movement. Give the five vowel 
sounds with the falling inflection. 

Pronounce the word eh ? as a question. This gives a 
sound resembling long a. Repeat the vowels on this 
inflection. Give the complete exercise on high, medium, 
and low pitches. 



24 ADVANCED ELOCUTION 

VOCAL CHART.— PART I 

<».0»&»Qq qi + 44444 

\\\\N 

*———■——■ vv vv v^ ' ' ' ' 



, .. .... ///// 



•S- 



6 



7 



uw^^^ 



6#~*~~~» ~«~ «■«- ««■» * + + f ' V V V V V 

'o • & t ^ ♦ — / mm 4 4 \ + & \ 4 



/? *_-.#_ 



X Do — 

A — ■ 
B — 



VOCAL GYMNASTICS 
VOCAL CHART.— PART II 



25 



-«. « . * * * * * 



€ * € S * 



\/\/ 



/AA^/y 



e AN — w 






















* 


.• v. 














% <f 


i» W 


j£ 




* 



























A 




« 


*: 


v. 


#■ « 


* » 


'< % 


< 


#• 
» 


.. 


*' V 


'^ 


» 



H* * * *-/ < y/^^^s^/«/* s ^ rf 



* i ? ' , V N •> *> ^ /\v/" 



26 ADVANCED ELOCUTION 

2. This exercise is the same as No. 1 with the time on 
each sound increased. Repeat the vowels on the musical 
note sustained, in three different pitches. 

Select a medium pitch and allow the voice to slide 
down to its lowest note. Each slide must begin on the 
same pitch. It should run smoothly and must have the 
same amount of force at all points. 

Begin at the pitch determined as above, allowing the 
voice to slide upward for several notes, observing the same 
general rules as in the downward slides. Do not allow 
the voice to become thin or strained at the end. 

3. Take a medium pitch, begin at a point and gradually 
increase in force to the middle, then diminish to the end. 
This should be a musical note throughout. Any musical 
instrument will give the correct movement. 

Begin at the same pitch as above, exercising care to 
strike the sound very gently, and allow the voice to slide 
downward, observing the swell as the voice proceeds. 

Beginning on the same pitch, cause the voice to slide up- 
ward, observing the general rules as in the downward slide. 

4. Strike the vowel forcibly, not abruptly, but with a 
rounded touch, allowing the voice to diminish gradually 
to the end. This is a musical note throughout. 

Strike the vowel forcibly and gradually slide downward, 
diminishing in volume to the end. 

Strike the vowel full and on the same pitch as above, 
run the upward slide, decreasing the force to the end. 

5. This exercise is the reverse of the preceding as to the 
application of force, but is the same in movement. 

6. These sounds, instead of being well rounded, are ex- 
ploded. They are struck abruptly, and may be represented- 
by the capital D. They may be made on the musical tone 
and on various pitches, and may also be inflected. They 
should receive only a limited amount of practice, otherwise 
the vocal organs may be injured. 



VOCAL GYMNASTK - 27 

7. This is exercise 1, varied. The difficulty will be to 
give each sound the correct movement. 

8. This represents the tremolo, which is produced by 
rapid successions of force. Instead of the organs being 
held firmly and the volume sustained throughout, weak- 
ness or emotion causes a succession of breaks. Keep the 
mouth open and repeat o as rapidly as possible without 
moving the lips. When the number per second is suffi- 
cient, the tremolo will be the result. 

Run the upward and downward slides combined with 
tremolo. 

9.. This is a combination of exercises. Care should be 
taken to represent the various movements with exactness. 

10. Varieties of movement and degrees of force are here 
represented. 

11. In this exercise degrees of force are shown on the 
musical tone3. It may be given on various pitches. 

12. Take a medium pitch, first sound musical ; second, 
rising from pitch selected ; third, longer rise ; fourth, rises 
from one note lower; fifth, rises from two notes lower; 
sixth, longer slide from two notes below pitch selected. 
In the second part these movements are reversed. 

Directions for Chart, Part IL page 25. 

X. — This exercise (which is the same as X, on Part I) 
may be repeated. 

A. — The first two divisions show forms of stress with 
gradations. 

The last five symbols in the third division represent the 
acute upward inflection. 

B. — The first two divisions represent varieties of stress 
with combinations. 

The last five symbols in the third division represent the 
upward inflection obscure. 

C, D, E. — These exercises represent varieties of slides 



28 ADVANCED ELOCUTION 

and combinations of slides with musical notes and differ- 
ences of pitch. 

F. — This exercise requires accuracy of ear. Select three 
pitches (better Do, Me, Sol). Repeat each vowel with 
proper pitch and inflection. The pitches selected should 
be adhered to throughout. Follow the dotted lines. 

G. — This exercise is the same as the preceding, with the 
addition of degrees of force. Proper pitch, force, and in- 
flection must be observed. 

H, I. — These represent a few of the endless varieties of 
slides and circumflexes. With care these varieties may 
be accurately represented. 

Note. — The skillful teacher will vary these examples in many 
ways by means of the blackboard. He should be able to illustrate 
any of these exercises. It is well, frequently, to imitate a fault of 
the pupil, as he can then judge of it from a new standpoint— that of 
a hearer. 

The teacher may use the chart in drill, thus allowing the student 
to take the instruction through the eye, or he may repeat the 
sounds and require the pupil to reproduce them. Both methods 
should be employed. 



VOCAL PRACTICE 

The primary sound of the larynx is short a or approxi- 
mates this sound. All other vowel sounds are modifica- 
tions of this. The vocal chords vibrate as the strings of any 
other instrument and give forth a sound. The primary 
sound of the larynx is the same or nearly so with all the 
vowels. This stream of sound receives certain modifications 
and moldings which form it into the various vocal elements. 

To give these varieties with accuracy there must be 
nice adjustment of the organs, that the sounds may be 
made with clearness and precision. Each vowei requires 
a peculiar and a definite position of the organs. If this is 



VOCAL PRACTICE 29 

disregarded, the distinctions are not clear, and one sound 
may resemble another. 

Let the student sound short a, and without closing the 
mouth allow it to slowly merge into long a. The stream 
of sound may remain unbroken, but varied so as to form 
the different vowels by changing the mouth position and 
allowing one to merge into the other. 

The beauty and the shading of the voice lie in the vowel 
sounds. While the consonants are necessary for the for- 
mation of words, and while for clearness their correct 
utterance must be observed, yet the shadings and har- 
monies of speech are in the vowel elements. 

In music the vowels are especially prominent, because 
they are largely the language of emotion, while the con- 
sonants are only sufficiently marked for clearness. So in 
speech, where the emotions are dominant the vowels 
become more prominent. 

DIRECTIONS 

In pronouncing the vowels the general movement of the 
mouth should be up and down, and not from side to side. 
The throat should be open and flexible. Do not allow 
the muscles of the throat, internal or external, to become 
rigid. Do not open the mouth in toward the throat, but 
down and out There is a vast difference between activity 
and rigidity. 

The general directions to be observed in forming the 
vowels are as follows : a should be uttered with the jaw 
thrown down and out, lips rounded rather than square, 
e- takes the same position in a modified form. Avoid 
setting the jaw for this sound. In i the mouth is well 
open, the jaw down and out. The lips will take care of 
themselves. In sounding o, project the lips and open the 
mouth well, following very much the shape of the letter. 
Let the lips move flexibly, not rigidly. For u very much 



30 ADVANCED ELOCUTION 

the same position is employed as in o, with the exception 
that in the latter the organs form while the sound is 
uttered, while in o the position may be first assumed. 

In all these sounds avoid stiffness or rigidity of the 
inner and outer muscles of the throat and mouth. Do 
not set the jaw. Do not draw in the lips. Form the 
sounds smoothly and firmly, but without physical effort. 
Ease, flexibility, and precision are the guiding principles. 

Repeat each sound several times, closing the mouth after 
each trial. Then pronounce one sound, close the mouth 
and quickly make another, assuming proper mouth posi- 
tion. Repeat this exercise, changing from vowel to vowel, 
till each can be uttered with precision. This will establish 
correct habits and the utterance, unconsciously, will be- 
come correct. 

One of the worst faults, and one of the most common, is 
the abrupt striking of all vowels, somewhat resembling 
an explosion, a catch, or a cough. Thus the timbre of the 
tone is destroyed. This is often apparent also in speaking 
words beginning with vowel sounds. The vowel may 
be uttered rapidly without this fault, and should always 
be well rounded and made with an open throat. If per- 
sisted in, this fault will injure the throat, and utterly ruin 
the rendition of all beautiful sentiment. 



BREATHING 



This subject has given rise to a world of discussion. 
Musicians and elocutionists have written volumes, and 
have presented diagram after diagram to prove their indi- 
vidual theories. 

This work aims to avoid all technicalities, and to present 
a series of exercises that will produce the results desired 
without insistence on any one theory. In diaphragmatic 



BREATHING 31 

breathing one set of muscles is developed ; in costal 
breathing another set ; and the tendency is to direct atten- 
tion to one part of the breathing machinery at the expense 
of the other parts. 

The guiding principles are these : 

Practice for breath capacity. 

Practice for breath control. 

Learn to inflate the whole lung tract. 

We inhale by expanding that part of the body surround- 
ing the lung's surface. We exhale by contracting the body 
over the same surface. We may fill one part of the lung 
to its full capacity while at the same time another part is 
but slightly expanded, for the lung expands under that 
part of the thorax which is expanded, and is but partly 
filled under that part which is little expanded. Expan- 
sion is the result of muscular energy. The muscles are 
both voluntary and involuntary. The chest rises and 
falls, but by an exercise of the will the expansion may be 
increased or decreased, and those muscles which before 
were involuntary may become voluntary. 

The lungs lie one on each side of the chest and are 
protected by the ribs. Before breath can be taken the 
ribs must rise. A good plan is to notice the breathing of 
animals. In a horse that has been exercised it will be 
seen that the ribs move backward and forward under the 
skin. With the forward movement expansion and inhala- 
tion occur, with the backward movement contraction and 
exhalation occur. In a dog lying on his side, after exer- 
cise, the ribs will be seen to rise and fall — contraction 
and expansion — inhalation and exhalation. 

In expanding the ribs the trunk is not raised. The ribs 
are flexibly fixed and are pulled up and out, down and 
in, by muscular energy. " The ribs move like a bucket- 
handle," says Lennox Browne. Rather let us say like two 



32 ADVANCED ELOCUTION 

bucket-handles. When they are dropped their sides ap- 
proximate, when raised they are farther apart. 

In speech we breathe for two purposes — one to supply 
the body with oxygen, the other for vocalization. When 
much voice is required, a greater amount of breath is 
necessary, not so much for voice purposes, perhaps, as 
to sustain the physical effort. 

Under great excitement we not only breathe more fully, 
but more frequently to supply the waste that is caused by 
increased physical activity. Not only is more air needed, 
but a given amount becomes vitiated more rapidly. 

The Nose 

Many voices are disagreeable because of improper nasal- 
ity. The so-called nasal tone is the result either of too 
little use or of excessive use of this organ. 

A person with a cold in the head is deprived of head 
resonance, and the voice is said to be nasal. On the other 
hand, one who scarcely opens the mouth, thus forcing the 
stream of vocalization through the nose has another kind 
of nasality. There are two passages for the tone, the 
mouth and the nose. When they perform their functions 
in unison, a pleasing voice is the effect. When one is 
used to the exclusion of the other a disagreeable sound is 
the result. In breathing care should be taken to breathe 
through the nose, as mouth breathing is injurious. The 
air is warmed on its passage through the nose to the 
lungs. Dust and impurities are strained from the air and 
retained in the nasal passages, which regulate also the 
moisture of the air and give the voice a pleasing resonance. 

Exercises 

1. Stand easily erect. Head well poised, shoulders back. 
Mouth closed, inhale inaudibly through five counts. 
Exhale through five. 



BREATHING 33 

Inhale through six counts — exhale through six. This 
exercise may be repeated, adding one count each time. 
The whole exercise should be continuous, no interval 
elapsing between inhalation and exhalation and inhalation 
again. Care must be taken not to overtax the lungs at 
first 

Inhale as before, exhale on short a in a whisper. The 
time may be regulated and varied by the teacher or pupil. 

Inhale and whisper short a, striking it with full force, 
then let the tone gradually die away. 

Inhale, and on the same sound, beginning almost in- 
auclibly, increasing in volume and exhausting the lungs 
at the end. 

Inhale and whisper the same vowel, sustaining the 
voice with equal volume throughout. 

Inhale, whisper the five long vowel sounds, separating 
each ; give these on one breath, without inhaling between. 

Inhale, and repeat vowels twice as above — continuing 
as long as the breath lasts, without exhaustion. 

2. Lock the hands and place them firmly upon the 
upper part of the chest. Take a slow inhalation, expand- 
ing gradually but firmly under the hands. The pressure 
of the hands centres the attention on the muscles beneath ; 
it also gives these muscles something to press against. 
The shoulders must not be raised. 

With the hands in this position all the foregoing ex- 
ercises may be practiced. 

3. Stand erect, place the backs of hands against the 
muscles of the back so that the thumbs may touch the 
shoulder blades. Inhale, expanding under the hands as 
much as possible. Exhale, allowing a gradual recession. 
The body must not be swayed forward. 

The exercises under No. 1 may be repeated with the 
hands in this position. 

4. Place the hands on the sides, fingers forward, thumbs 



34 ADVANCED ELOCUTION 

back. Space between thumb and finger under armpits, 
bring hands well up. They are now over the centre of 
lung tissue. (The chief expansion must be here.) 

With the hands in this position constantly increase the 
expansion from side to side. This expansion occurs sev- 
eral inches above the waist line. 

Repeat the exercises under No. 1 with the hands in this 
position. 

Stand erect. Hands on hips. In this exercise expand 
the whole lung from top to bottom and from centre to 
circumference, using all the muscles to which the atten- 
tion has been directed in the above exercises. 

5. Inhale — hold the breath — bend the body to the right 
at the waist line (do not bend head or limbs), exhale in 
this position inaudibly. Erect position: Inhale, bend 
left, exhale ; inhale, bend back at hips, exhale. 

Bend to right, inhale, erect position, exhale. 

Bend to left, inhale, erect position, exhale. 

Bend back at hips, inhale, erect position, exhale. 

Erect, inhale, right to left with continuous inhalation, 
back at hips, continuing, erect position. 

Repeat the above with short a in a whisper. 

All of these exercises may be repeated, inhaling in the 
same manner and exhaling on the vowel sounds, a, e, i, 
o, u. 

Note. — In all these exercises emphasize these facts : The breath 
must be taken inaudibly through the nose. Inhale by expansion and 
exhale by recession. Most breath is taken in the part where there is most 
outward expansion. Breath is wasted by too sudden recession. Breath 
is economized by keeping a part of the expansion. 

Special Exercises 

Place the hands on the chest, sides and back, as in Ex- 
ercises 1, 2, 3, expanding and relaxing the muscles, hold- 
ing the breath. 

Inhale and pronounce forcibly the five vowel sounds in 
a whisper without taking breath between. 



INFLECTION 35 

Pronounce the vowels forcibly in a whisper, inhaling 
for each. These last two exercises may be practiced with 
vocalization. 

Inhale and recite a line or two of some poem without 
inhaling between the words. Repeat two lines, three 
lines, etc. 

A skillful teacher will be able to combine and vary 
these exercises almost indefinitely, but care should be 
taken not to allow the pupil to over-exercise. A few 
minutes' practice each time is sufficient. 



Inflection 



" 'Tis not enough the voice be loud and clear, 
'Tis modulation that must charm the ear." 

There is nothing in speech which has greater power to 
interpret, to give variety, and to suggest the light and 
shade of sentiment than the proper use of Inflections or 
Slides. These movements of the voice oftentimes have 
meanings of their own apart from spoken words. They 
are the tones of the voice which, to a degree, are the 
natural language of man. 

Much of the monotony of speech is due either to their 
absence or to a want of their proper use. The so-called 
ministerial tone is always marked by a lack of their 
intelligent observance. 

These shades with their modifications are almost unlim- 
ited in number. Only a few of them, therefore, can be 
suggested, leaving the others to the good taste and to the 
ear of the speaker. 

Inflection marks the great difference between speech 
and song. In music the notes are held on the level ; the 
pitch changes between the notes, but in speech the pitch 
usually changes on the note, making an inflection. 



36 ADVANCED ELOCUTION 

In interpreting the various kinds of sentiment the num- 
ber of inflections does not vary to any great extent. We 
concern ourselves with the kind of inflections rather than 
with the number. In reading descriptive or narrative selec- 
tions the use of slides is apparent, but it is equally im- 
portant in beautiful and emotional passages. All emotion 
is based upon ideas — upon facts ; and these must stand out 
clearly. The student must avoid singsong and whine and 
monotony in expressing emotional selections. 

Inflection (in the broadest sense) — Shows Contrast — 
They tell the Facts. 

Length of the Slide — Shows the Importance of the Fact. 

Straight Slides — Show Directness of Purpose. 

"Waves — Show Beauty and Sympathy, 

Broken Slides — Show Weakness or Uncertainty. 

Zigzag or Continuous Wave Movements — Repre- 
sent Sarcasm, Irony, Scorn, and Duplicity. 

Inflections may be divided in accordance with the fol- 
lowing diagram : 



Slides — Rising or Falling i 



Straight 

Curved 

Long 

Short 

Circumflex 



Write the figure 1 on the board and ask the student to 
read it. Add the figure 2. Continue to add figures, leav- 
ing the impression that each is the last. 

The figures being still on the board ask the pupil to 

read the series. The result will probably be as follows : 

\ \ \ \ \ \ 
First 12 3 4 5 6 

Second 12 3 4 5 6 



INFLECTION 37 

The letters of the alphabet may be used in the same 
manner. 

Hold several objects in your hand at the same time and 
ask the pupil to name them. Then hold up each sepa- 
rately. This will probably be the result : 

/ / / \ 

First Pen, Pencil, Chalk, Ruler. 

Second Pen, Pencil, Chalk, Ruler. 

These exercises show that when an idea is conceived sep- 
arately — independently, if it is expressed in a single word, 
that w r ord takes the downward inflection. That w T ord 
may now be joined to another and the voice in uttering it 
may be sustained, because its full meaning is in suspense 
until the other word completing the idea has been uttered. 
When several words are employed to represent a complete 
or an independent idea the downward movement is usu- 
ally manifest in the most important or suggestive word. 
When they are of equal importance the concluding word 
takes fhe downward movement. Clauses and sentences 
may follow each other, all with the sustained movement. 
This shows close continuity between the ideas involved, 
and that the mind, as it were, is held up or suspended until 
the completion of a certain line of thought. It is a rule 
of composition that it is best to express ourselves in short 
sentences, and the same principle should be observed in 
speaking. We should deliver our sentiment, thought by 
thought, remembering that the sustained voice shows con- 
tinuity and the downward inflection marks completeness. 

The non-observance of this principle gives rise to much 
monotony. Readers struggle through long, involved sen- 
tences holding up the voice to the end. There may be 
many complete thoughts in one sentence, and they should 
be given as such. While one author w r rites in short sen- 
tences, another uses longer and more involved ones to 



38 ADVANCED ELOCUTION 

express the same ideas. It is not logical to suppose that 
we must change our methods of expression because writers 
differ in punctuation and grammatical construction. 
Read the word " No " expressing the following ideas : 

Question. 

Negation. Surprise. 

No < Positive Negation. Sarcasm. 

Angry Negation. Qualification. 
Uncertainty. 

Represent the following with the word " well :" 

C Question. Sarcasm. 
Well 1 Consent. Completeness. 

I Doubt. Something to be added. 

Repeat the following adjectives : first in the ordinary 
sense, and then with greater intensity and notice the differ- 
ence in the slide : 

Awful v \ Grand v \ Glorious* \ 

Beautif ul v \ Noble v \ Vast v \ 

As a general rule, the closing word of a sentence, unless 
interrogative, takes the falling inflection, but the weaker or 
the dependent clause is marked with sustained voice, and 
the positive or independent clause with falling inflection, 
no matter in what part of the sentence it occurs. 

Examples 

Then Agrippa said unto Paul', " Thou art permitted to 
speak for thyself." 

" Thou art permitted to speak for thyself V said Agrippa 
unto Paul'. 

Hon^or is the subject of my sto'ry. The subject of my 
sto'ry is hon^or. 

Strange company we harbored. We har'bored strange 
company. 



INFLECTION 39 

" Give us a song\" the soldiers cried'. The soldiers 
cried', " Give us a songV 

INFLECTIONS SHOW CONTRAST 

The fault, dear Brutus, is not in our stars', but in our- 
selves\ that we are underlings. 

Give me neither poverty nor rich^es. 

Man cannot know' unless he can worship in some way. 

Bru'tus and Cse'sar. What should be in that Csesar ? 

"lis hard to say, if greater lack of skill appears in 
writing or in judging ill. 

INFLECTIONS TELL THE FACTS 

1. Tal'ent is some'thing, but tact' is everything. Tal'ent 
is se'rious, so'ber, grave', and respectable ; tact' is all that' 
and more v too. It is not a sixth x sense\ but is the life' of all 
the five v . It is the open eye' the quick' ear', the judging 
taste', the keen' smell', and the lively touchy it is the in- 
terpreter of all rid^dles, the surmount' er of all dif Acuities, 
the remov'er of all obstacles. — Robertson. 

2. Four'score and seven years ago', our fath'ers brought 
forth upon this con'tinent a new' naHion, conceived' in 
liVerty and dedicated to the proposition that all' men' 
are crea'ted e v qual. — Lincoln. 

What a piece of work' is man v ! how no'ble in reason ! 
how in'flnite in faculties ! in form' and moving how ex- 
press' and ad^mirable ! in ac'tion how like an an v gel ! in 
apprehen'sion how like a god x ! the beau'ty of the world v ; 
the par'agon of animals. — From "Hamlet" — Shakespeare. 

LENGTH OF SLIDE SHOWS IMPORTANCE 
OF THE FACT 

Do you think 1/ am easier to be played upon than a 
pipe/? Call me what instrument you will\ though you 
can fret' me, you canliot play\ upon me. — From "Ham- 
let "—Shakespeare. 



40 ADVANCED ELOCUTION 

The clear conception, outrunning the deductions of 
logic\ the high' purpose, the firm' resolve\ the dauntless 
spirit, speak'ing on the tongue\ beaming from the eye\ 
informing ev'ery feature, and urging the whole' man' on\ - 
ward, right on\ ward to his object — this v , this\ is el'oquence, 
or rath'er it is something great'er and high'er than all' 
el'oquence : it is action, nobble, sublime, God\ like ac'tion. 
— From u Eloquence " — Webster. 

My Lords', I am amazed^ ; yes, my Lords', I am 
amazed\ at his Grace's' speech\ 

She swore in faith 'twas strange^ 
'Twas passMng strange* ; 
'Twas pitiful ; 'twas won \drous pitiful. 

Thou shalt love the Lord' thy God' with all thy heart\ 
and with all thy soul\, and with all thy mindV 

Repeat words like no, well, you, hoiv with slides of differ- 
ent lengths and note the gain in strength. 

Animated speech is full of slides. Interesting things 
become uninteresting, and uninteresting things interesting 
by their neglect or use. 

STRAIGHT SLIDES 

Straight lines and angles represent intellectuality, 
strength, and directness of purpose. This is also true of 
the movements of the body. Gestures of emphasis and 
decision usually move by a direct line to reach their pur- 
pose. 

This is equally true of voice ; directness of purpose re- 
quires directness of movement. 

The student may be allowed to read the following, plac- 
ing the inflections in such a manner as best to suggest the 
thought : 

1. Read not to contradict and conflict, nor to believe and 
take for granted, nor to find talk and discourse, but to weigh 



INFLECTION 41 

and consider. Some books are to be tasted, others to be 
swallowed, and some few to be chewed and digested — that 
is, some books are to be read only in parts ; others to be 
read, but not curiously ; and some few to be read wholly, 
and with diligence and attention. — From "Essay on Studies " 
—Lord Bacon. 

2. I do not rise to fawn and cringe to this house, I do 
not rise to supplicate you to be merciful towards the nation 
to which I belong — towards a nation which, though sub- 
ject to England, yet is distinct from it. It is a distinct 
nation ; it has been treated as such by this country, as 
may be proved by history, and by seven hundred years of 
tyranny. — Daniel 0" Connell. 

3. The AVar is over. It is for us to bury its passions 
with its dead ; to bury them beneath a monument raised 
by the American people to American manhood and the 
American system, in order that " the nation shall, under 
God, have a new birth of freedom, and that the govern- 
ment of the people, by the people, and for the people shall 
not perish from the earth." — Henry W. Watterson. 

4. Unwarned by any sunset light 
The gray day darkened into night, 
A night made hoary with the swarm 
And whirl-dance of the blinding storm, 
As zigzag wavering to and fro 
Crossed and recrossed the winged snow ; 
And ere the early bedtime came 
The white drift piled the window frame, 
And through the glass the clothes-line posts 
Looked in like tall and sheeted ghosts. 

From " Snow- Bound " — Whittier. 

INFLECTIONS IN EMOTIONAL SELECTIONS 

In nature, beauty and harmony are usually represented 
by curved lines. Hence, inflections, in emotional selec- 
tions, indecision and all products of the sensibilities, re- 
quire waves and curves. 



42 



ADVANCED ELOCUTION 



Let the student read the following selection with slides 
as in No. 1 and then as in No. 2. The difference between 
straight lines and curves will be apparent : 



Alone I stand ; on either hand 
In gathering gloom stretch sea and land ; 
Beneath my feet, with ceaseless beat, 
The waters murmur low and sweet. 

From u Nightfall"— W. W. Ellsworth. 



1. 


2. 


V~Y--^/ 


v-v- // 


- -/U/--/-\. 


-// -/-\ 


S^~~ ~S " X- S 


/-/ -\ / 


- V ^r^S- *V 


-\ //- \ 



Waves and curves should also be applied to the follow- 
ing extracts : 

1. But far on the deep there are billows 
That never shall break on the beach; 
And I have heard songs in the silence, 

That never shall float into speech ; 
And I have had dreams in the Valley, 

Too lofty for language to reach. 
From " The Song of the Mystic " — Father Ryan. 



2. There's a bower of roses by Bendemeer's stream, 

And the nightingale sings round it all the day long ; 
In the time of my childhood 'twas like a sweet dream, 

To sit in the roses and hear the bird's song. 
That bower and its music I never forget, 

But oft when alone, in the bloom of the year, 
I think — Is the nightingale singing there yet? 

Are the roses still bright by the calm Bendemeer ! 
From " Lalla Rookh " — Thomas Moore. 



INFLECTION 43 

8. The Lord is my shepherd ; I shall not want. He 
maketh me to lie down in green pastures; He leadeth me 
beside the still waters ; He restoreth my soul; He leadeth 
me in the paths of righteousness for His name's sake. 

Yea, though I walk through the valley of the shadow 
of death, I will fear no evil; for Thou art with me; Thy 
rod and Thy staff they comfort me. 

From " Twenty-third Psalm " — Bible. 



SHARP ANGLES, ZIGZAG, AND CONTINUOUS WAVE 
MOVEMENTS IN THE SLIDE 

These show sarcasm, irony, scorn, duplicity, etc. The 
wave is usually emplo} 7 ed to give grace and beauty to 
expression, but the angular circumflex — never. 

The exercises below may be varied, by giving them with 
straight line inflections, curves, and angles : 

1. And this man 

Is now become a god ; and Cassius is a wretched creature, 

and must bend his body 
If Csesar carelessly but nod on him. 

From " Julius Csesar " — Shakespeare. 

2. What should I say to } T ou? Should I not say, 
Hath a dog money ? Is it possible 

A cur can lend three thousand ducats ? or, 
Shall I bend low, and in a bondman's key, 
With 'bated breath, and whispering humbleness, say 
this, — 

" Fair sir, you spet on me on Wednesday last ; 
You spurned me such a day ; another time 
You call'd me dog ; and for these courtesies 
I'll lend }^ou thus much monies !" 

From " The Merchant of Venice " — Shakespeare. 

3. Is the gentleman done ? Is he completely done ? — 
From Grattan's Reply to Corry. 



44 ADVANCED ELOCUTION 

4. Brutus is an honorable man ; so are they all, all 
honorable men. — From u Julius Caesar " — Shakespeare. 

5. 0, your sweet eyes, your low replies ! 
A great enchantress you may be ; 
But there was that across his throat 
Which you had hardly cared to see. 
From " Lady Clara Vere de Vere " — Tennyson. 

LONG RISING SLIDE AND LONG FALLING SLIDE 

A long rising slide begins below the mean pitch and a long 
falling slide above it. The exception to this rule is when 
the nature of the sentiment changes, causing the pitch to 
change and the slide is carried with it 

1. That which we call a rose 
By any other name 
Would smell as sweet. 

2. Horatio, (referring to ghost of Hamlet's father) I think 
I saw him y ester night. 

Hamlet. Saw? Who? 

Horatio. My lord, the king j^our father. 

Hamlet. The King my father ! 

From " Hamlet " — Shakespeare. 

3. Touchstone. How old are you, friend ? 
William. Five and twenty, sir. 

Touchstone. A ripe age. Is thy name William ? 
William. William, sir. 

From "As You Like Lt " — Shakespeare. 

The movement of the voice in exercises 2 and 3 may 
be indicated by the following : 

Horatio. . 

Hamlet. / \ . 

Horatio. — ■ 

Hamlet. — / — / 



INFLECTION 



45 



Touchstone. — \ 

William.. / — \ — 

Touchstone. / — 

William. — / 



/ 



In the following classes 
of sentiment the falling 
slide predominates: 
The Positive. 

Completeness, 

Strength, 

Harshness, 

Assertion, 

Certainty, 

Dogmatism. 



In the following classes 
of sentiment the rising 
slide predominates : 

The Negative. 

Continuity, 

Weakness, 

Sympathy, 

Deference, 

Uncertainty, 

Interrogation. 

Read the following : 

Will you' close' that' door'? 

Will you N close' that x door v ? 

La' dies and gen'tlemen. 

LaVlies and gen'tlemen. 

Boys', Boys\ John', John\ 

You will' ? You will\ 

Hello', Cen'tral ! Hello\ Central ! 

Read the following, showing sympathy : 

Let not your hearts be troubled; ye believe in God, 
believe also in me, — From the Bible. 

Read the above as a command. 

Read the following exercises, noting the inflections and 
their kind : 

1. Can storied urn or animated bust 

Back to its mansion call the fleeting breath ? 
Can honor's voice provoke the silent dust, 
Or flattery soothe the dull, cold ear of death ? 

From Gray's "Elegy." 



46 ADVANCED ELOCUTION 

2. To be or not to be — that is the question. 

3. Napoleon was sitting in his tent ; before him lay a 
map of Italy. He took four pins and stuck them up, 
measured, moved the pins, and measured again. Now, 
said he, that is right ; I will capture him there. 

4. You shall die, base dog ! 

5. Blessed are the merciful, for they shall obtain mercy. 

6. What is it the gentlemen wish ? 

7. Within its shade of elm and oak, 
The church of Berkley Manor stood. ! 

8. For always I am Csesar. 
Shall Csesar send a lie ? 

9. Cassias. I may do that I shall be sorry for. 
Brutus. You have done that you should be sorry for. 

10. Dear, patient, gentle, noble Nell was dead. 

11. Please give me a penny. 

12. No ; I will not. 

13. The war is inevitable. 

14. Shylock. Antonio is a good man. 

Bassanio. Have you heard any imputation to the con- 
trary ? 

Shylock. Oh, no, no, no, no ; — my meaning in saying he 
is a good man, is to have you understand me that he' is 
sufficient. — From " Merchant of Venice " — Shakespeare. 

15. Shylock. Three thousand ducats — well? 
Bassanio. Ay, sir, for three months. 
Shylock. For three months — well ? 



INFLECTION 4? 

Bassanio. For which, as I told you, Antonio shall be 
bound. 

Shylocl\ Antonio shall be bound — well ? 

Bassanio. May you stead me ? Will you pleasure me ? 
Shall I know your answer ? 

Shylock. Three thousand ducats for three months and 
Antonio bound? — Ibid. 

16. MeteUus. Wherefore rejoice ? What conquest brings 
he home ? 

What tributaries follow him to Rome, 
To grace in captive bonds his chariot wheels ? 
You blocks, you stones, you worse than senseless things ! 
From " Julius Csesar " — Shakespeare. 

17. 0, what a rogue and peasant slave am I ! 

Questions are usually marked by rising, and answers by 
the falling inflection. 

Regard must be had, however, to the meaning of the 
question or answer, rather than to its mere form. 

In intense sentiment the question is marked with rising 
inflection on almost every word. It should be noticed 
that the closing word is not always so marked, but often 
the inflection culminates in the emphatic word. When a 
certain answer is expected or demanded, or where assertion 
is prominent, and often when the question is long and in- 
volved, it may be marked in whole or in part with the 
downward slide. 

Examples 

1. Hold you the watch to-night? 
We do, my lord. 

2. When can their glory fade? 

3. Is it so nominated in the bond? 

4. Has there any old fellow got mixed with the boys ? 



48 ADVANCED ELOCUTION 

5. Hamlet. Now,, mother, what's the matter? 
Queen. Hamlet, thou hast thy father much offended. 

6. Do you think I am easier to be played upon than a 
pipe? 

The student should select sentences for himself embody- 
ing these principles. The plays of Shakespeare abound 
in excellent examples. 



QUALITY 

"A natural voice is the golden key which unlocks the human heart." 

By Quality the hind of voice is meant. In all scientific 
study it is necessary to classify, to divide and sub-divide 
in order that each phase may stand out clearly. Men are 
divided into types, so are the voices in which they speak. 
These types or qualities simply represent extremes ; and 
between them are numerous gradations which merge into 
each other. 

A certain tone is usually the language of harshness or 
violence, but these emotions may gradually recede until 
the voice takes its normal quality. These gradations 
cannot easily be. shown, except by the living teacher. 
Therefore only extremes can be presented in a work of 
this nature, leaving the refinements and gradations of 
vocal expression to the intelligence of the student. 

These various qualities are a part of the tone language 
that is universal among animals, including man. The 
latter has modified, enlarged, and adapted this instrument 
of expression ; but in the tones of his voice man has not 
gotten far from the natural animal expression, except in 
refinement and variety. Words may conceal thought, but 
it is difficult to conceal what the tone strives to express. 
In all extreme conditions of life, in sudden emotion, 



QUALITY 49 

words are forgotten and the various kinds of cries pre- 
dominate. We groan in sudden pain ; when it is long 
continued we moan ; when depressed we sigh, while fright 
expresses itself in a scream, and even when words are 
uttered under these conditions their utterance is of minor 
importance. 

The roar of the lion suggests power, so does the roar of 
Niagara, or the same quality in the human voice. The 
animal's scream suggests fright, and startles the listener ; 
the same is true of the screech of a locomotive or the 
shrieks of a woman. A dog growls, so does the thunder, 
so does man, each suggests a threat. Animals moan, so do 
the winds, and so do men. Whenever these sounds are 
produced, whether by brutes, men, or inanimate nature, 
their effect is relatively the same. 

This truth is so common in its application, that we use 
the same terms in speaking of the sounds made by inani- 
mate nature, as in speaking of those made by human or 
animal voices. The winds " sigh, moan, and howl ; the 
brook chatters, babbles, and murmurs ; the breezes whisper, 
the tempest shrieks, the waves sob, the thunder roars; 
thus literally nature ' speaks a various language.' " 

The qualities of sound are observed by musicians. The 
dirge differs from the serenade, and the music of the dance 
is unlike the stately march. Because of the different 
qualities of musical instruments, organs are in our churches, 
pianos in our parlors, stringed instruments in concert 
halls, while the drum and fife lead to battle. 

The human voice has a greater variety of power, when 
coupled with words, than all of these combined, and thus 
the value of division under quality becomes obvious. 

It is the purpose to follow the usual divisions under 
this head, and while these qualities might readily be sub- 
divided, it is not believed to be best to do so in the pres- 
ent work. 
4 



50 



ADVANCED ELOCUTION 



PuTi 



Ordinary . Normal 

Enlarged Orotund 

Very Low Pectoral 

Intermittent Tremolo 



The following are usually classed as impure, but this 
impurity differs in kind and degree : 



Impure < 



Breathy Aspirate 

Throaty, Harsh, Rasping . . Guttural 
Improper use of Nose .... Nasal 

Very High Falsetto 

Weak, Thin Oral 



PURE VOICE 

This is the natural voice for the expression of all pure 
sentiment. The voice should always be pure, unless the 
sentiment is so harsh, intense, or violent that it disarranges 
the vocal organs. Purity of voice is the result of the 
slightest physical effort and is accompanied with very 
little friction in the vocal apparatus. 

The Normal Voice 

All ordinary sentiment should be expressed in this 
quality. It is used in descriptive, didactic, and conver- 
sational sentiment, and selections not marked with any 
great degree of emotion. It is the quality most used 
and should be most carefully cultivated. As usually 
understood, it is limited as to force and resonance. The 
throat should be open and flexible and the words easily 
and clearly projected. 

Examples 

1. Wasn't it pleasant, brother mine, 
In those old days of the lost sunshine 
Of youth — when the Saturday's chores were through, 



QUALITY 51 

And the Sunday's wood in the kitchen, too, 
And we went visiting, " me and you," 
Out to old Aunt Mary's ? 

It all comes back so clear to-day, 
Though I am as bald as you are gray — 
Out by the barn lot and down the lane 
We patter along in the dust again, 
As light as the tips of the drops of rain, 
Out to old Aunt Mary's. 
From " Out to Old Aunt Mary's " — James Whitcomb Riley, 

2. It is the everlasting glory of Stratford-upon-Avon 
that it was the birthplace of Shakespeare. Situated in the 
heart of Warwickshire, which has been called the garden 
of England, it nestles cozily in an atmosphere of tranquil 
loveliness, and is surrounded with everything that soft 
and gentle rural scenery can provide to soothe the mind 
and nurture contentment. 

It stands upon a plain almost in the centre of an island, 
through which, between the low, green hills that roll away 
on either side, the Avon flows down to the Severn. — 
From "Shakespeare's England" — William Winter. 

3. The spring was in our valley now ; creeping first for 
shelter shyly in the pause of the blustering wind. Then 
the lambs came bleating to her, and the orchis lifted up, 
and the thin, dead leaves of clover lay for the new ones to 
spring through. Then the stiffest things that sleep, the 
stubby oak and the stunted beech, dropped their brown 
defiance to her, and prepared for a soft reply. — From 
"Lorna Doone " — R. D. Blachnore. 

4. I chatter over stony ways, 

In little sharps and trebles, 
I bubble into eddying bays, 
I babble on the pebbles. 

With many a curve my banks I fret, 

By many a field and fallow, 
And many a fairy foreland set 

With willow-weed and mallow. 



52 ADVANCED ELOCUTION 

I chatter, chatter, as I flow 

To join the brimming river, 
For men may come and men may go, 

But I go on forever. 

From " The Brook " — Tennyson. 

5. Hamlet. What make you from Wittenburg, Horatio ? 
Horatio. A truant disposition, good my lord. 
Hamlet. I would not hear your enemy say so, 

Nor shall you do mine ear that violence 
To make it truster of your own report 
Against yourself ; I know you are no truant, 
But what is your affair in Elsinore? 
We'll teach you to drink deep ere you depart. 

Horatio. My lord, I came to see your father's funeral. 

Hamlet. I pray thee do not mock me fell ow -student ; 
I think it was to see my mother's wedding. 

Horatio. Indeed, my lord, it followed hard upon. 

Hamlet. Thrift, thrift, Horatio ! The funeral-baked 
meats did coldly furnish forth the marriage tables. 

From u Hamlet " — Shakespeare. 

6. Along the crowded path they bore her now ; pure as 
the newly-fallen snow that covered it ; whose day on earth 
had been as fleeting. Under the porch, where she had 
sat, when Heaven, in its mercy, brought her to that 
peaceful spot, she passed again ; and the old church re- 
ceived her in its quiet shade. 

They carried her to one old nook where she had many 
and many a time sat musing, and laid their burden softly 
on the pavement. The light streamed in through the col- 
ored window — a window wdiere the boughs of the trees 
were ever rustling in the summer, and where the birds 
sang sweetly all day long. With every breath of air that 
stirred among those branches in the sunshine, some trem- 
bling, changing light would fall upon her grave. — From 
" Old Curiosity Shop " — Dickens. 

7. I am the true vine and my Father is the husband- 
man. Every branch in me that beareth not fruit He 
taketh away ; and every branch that beareth fruit, He 
purgeth it, that it may bring forth more fruit. 



QUALITY 53 

Now ye are clean through the word which I have spoken 
unto you. Abide in me and I in you. As the branch 
cannot bear fruit of itself, except it abide in the vine; no 
more can ye, except ye abide in me. — From the Bible, 

The Orotund Voice 

This is the language of all lofty or ennobling sentiment. 
The chest and head give forth their resonance. - Promi- 
nence is also given to the vowels. This tone is the Nor- 
mal enlarged and ennobled. 

Examples 

1. Ye ice-falls ! ye that from the mountain's brow 
Adown enormous ravines slope amain — 
Torrents, methinks, that heard a mighty voice, 
And stopped at once amid their maddest plunge. 
Motionless torrents ! Silent cataracts ! 
V\'ho made you glorious as the gates of heaven 
Beneath the keen full moon ? Who bade the sun 
Clothe you with rainbows ? AVho with living flowers 
Of loveliest blue, spread garlands at your feet ? 

" God !" Let the torrents, like a shout of nations, 

Answer ! and let the ice-plain echo, " God !" 

" God !" sing ye meadow streams with gladsome voice ! 

Ye pine groves, with your soft and soul-like sounds ! 

And they, too, have a voice, yon piles of snow, 

And in their perilous fall shall thunder, " God !" 

Ye living flowers that skirt the eternal frost ! 
Ye wild goats sporting round the eagle's nest! 
Ye eagles, playmates of the mountain storm ! 
Ye lightnings, the dread arrows of the clouds! 
Ye signs and wonders of the elements ! 
Utter forth " God !" and fill the hills with praise ! 

From " Mont Blanc Before Sunrise " — Coleridge. 

2. The notes of the deep-laboring organ burst upon the 
ear. How well do their volume accord with this mighty 



54 ADVANCED ELOCUTION 

building! With what pomp do they swell through its 
vast vaults, and breathe their awful harmony through 
these caves of death, and make the silent sepulchre vocal ! 

And now they rise in triumph and acclamation, heaving 
higher and higher their accordant notes, and piling sound 
on sound. And now they pause, and the soft voices of the 
choir break out into sweet gushes of melody. They soar 
aloft, and seem to play about these lofty vaults like the 
pure airs of heaven. 

Again the pealing organ heaves its thrilling thunders, 
compressing air into music, and rolling it forth upon the 
soul. What long-drawn cadences ! What solemn, sweep- 
ing concords ! It grows more and more dense and power- 
ful — the ear is stunned — the senses are overwhelmed, and 
now it is winding up in full jubilee— it is rising from 
earth to heaven — the very soul seems rapt away and 
floated upwards on the swelling tide of harmony. — From 
" Westminster Abbey 1 '' — Washington Irving. 

3. The nation rises up at every stage of his coming; 
cities and States are his pallbearers, and the cannon 
beats the hours in solemn progression ; dead, dead, dead, 
he yet speaketh. Is Washington dead? Is Hampden 
dead ? Is David dead ? Is any man that was ever fit to 
live dead? Disenthralled from flesh, and risen in the 
unobstructed sphere where passion never comes, he begins 
his illimitable work 

Your sorrows, O people, are his peace ; your bells and 
bands and muffled drums sound triumph in his ear — wail 
and weep here — pass on ! Ye winds, that move over the 
mighty places of the West, chant his requiem ! Ye peo- 
ple, behold a martyr, whose blood, as so many articulate 
words, pleads for fidelity, for law, for liberty. — From 
" Funeral Oration on Abraham Lincoln " — H. W. Beecher. 

4. The soldiers stepped from the trenches into the fur< 
rows ; horses that had charged Federal guns marched 
before the plow, and fields that ran red with human 
blood in April were green with the harvest in June. 

From the ashes left us in 1864 we have 

raised a brave and beautiful city ; that somehow or other 
we have caught the sunshine in the bricks and mortar of 



QUALITY 55 

our homes, and have builded therein not one ignoble 
prejudice or memory 

As she stands upright, full-statured and equal among the 
people of the earth, breathing the keen air and looking out 
upon the expanded horizon, she understands that her 
emancipation came because through the inscrutable wis- 
dom of God her honest purpose was crossed, and her 
brave armies were beaten 

In my native town of Athens is a monument that 
crowns its central hill — a plain, white shaft. Deep cut into 
its shining side is a name dear to me above the names of 
men, that of a brave and simple man who died in brave 
and simple faith. Not for all the glories of New Eng- 
land, from Plymouth Rock all the way, would I exchange 
the heritage he left me in his soldier's death 

But, sir, speaking from the shadow of that memory, 
which I honor as I do nothing else on earth, I say that 
the cause in which he suffered and for which he gave his 
life was adjudged by higher and fuller wisdom than his or 
mine, and I am glad that the omniscient God held the 
balance of battle in His Almighty hand, and that the 
American Union was saved from the wreck of war. 

From " The New South " — Henry W. Grady, 

. The heavens declare the glory of God ; and the firma- 
ment showeth His handywork. Day unto day uttereth 
speech, and night unto night showeth knowledge. There 
is no speech nor language, where their voice is not heard. 
Their line is gone out through all the earth, and their 
words to the end of the world. In them hath He set a tab- 
ernacle for the sun, which is as a bridegroom coming out of 
his chamber, and rejoiceth as a strong man to run a race. 

His going forth is from the end of the heaven, and his 
circuit unto the ends of it : and there is nothing hid from 
the heat thereof. The law of the Lord is perfect, convert- 
ing the soul : the testimony of the Lord is sure, making 
wise the simple. The statutes of the Lord are right, re- 
joicing the heart: the commandment of the Lord is 
pure, enlightening the eyes. The fear of the Lord is clean, 
enduring forever : the judgments of the Lord are true 
and righteous altogether. 

More to be desired are they than gold, yea, than much 
fine gold : sweeter also than honey and the honeycomb. 



56 ADVANCED ELOCUTION 

Moreover by them is thy servant warned : and in keeping 
of them there is great reward. Who can understand his 
errors ? Cleanse thou me from secret faults. Keep 
back thy servant also from presumptuous sins ; let them 
not have dominion over me : then shall I be upright, and 
I shall be innocent from the great transgression. Let the 
words of my mouth, and the meditation of my heart, be 
acceptable in thy sight, Lord, my strength, and my re- 
deemer. — The " Nineteenth Psalm" — Bible, 

The Pectoral Voice 

It is doubtful whether a strictly scientific analysis would 
allow this form of voice as a distinct quality. It seems to 
be simply a very low voice, usually having greater time, 
with a tendency to run into minors. 

It is used in very solemn, weird, awful, and supernatural 
passages. The larynx is dropped as much as possible, 
the glottis open, and the resonance is in the lower chest 
region. It should not be practiced to the exclusion of the 
more natural ranges, as it is less used than either the 
Normal or the Orotund. 

Examples 

1. Hamlet. Angels and ministers of grace defend us ! 

Be thou spirit of health or goblin damn'd. 

Bring with thee airs from heaven or blasts from hell, 

Be thy intents wicked or charitable, 

Thou comest in such a questionable shape 

That I w r ill speak to thee : I'll call thee Hamlet, 

King, father ; royal Dane, O, answer me ! 

From u Hamlet " — Shakespeare. 

2. Ghost. I am thy father's spirit, 
Doomed for a certain term to walk the night, 
And for the day confined to fast in fires, 
Till the foul crimes done in my days of nature 
Are burned and purged away. But that I am forbid 
To tell the secrets of my prison house, 
I could a tale unfold whose lightest word 
Would harrow up thy soul. — Ibid. 



QUALITY 57 

3. Lady Macbeth. Yet here's a spot. 

Out damned spot! Out, I say ! 

One, two; why, then 'tis time to do't. — Fie, my lord, 
fie ; a soldier, and afeard ? What need we fear who knows 
it, when none can call our power to account? Yet who 
would have thought the old man to have had so much 
blood in him ? . . . What, will these hands ne'er be 
clean? Xo more o' that, my lord, no more o'that: you 
mar all with this starting. . . . 

Here's the smell .of blood still: all the perfumes of 
Arabia will not sweeten this little hand. Oh ! oh ! oh ! . . . 
To bed, to bed; there's knocking at the gate : come, come, 
come, come, give me your hand ; what's done, cannot be 
undone ; to bed, to bed, to bed. — From " Macbeth " — ■ 
Shakespeare. 

4. 0, I have pass'd a miserable night, 
So full of fearful dreams, of ugly sights, 
That, as I am a Christian faithful man, 
I would not spend another such a night, 
Though 'twere to buy a world of happy days ; 
So full of dismal terror was the time ! 

Methought that I had broken from the tower, 
And was embark'd to cross to Burgundy ; 
And, in m} r company, my brother Gloster, 
Who from my cabin tempted me to walk 
Upon the hatches ; thence we look'd toward England 
And cited up a thousand heavy times, 
During the wars of York and Lancaster, 
That had befallen us. As we pae'd along 
Upon the giddy footing of the hatches, 
Methought Gloster stumbled ; and in falling 
Struck me, that sought to stay him, overboard 
Into the tumbling billows of the main. 

0, then methought what pain it was to drown ! 
What dreadful noise of water in mine ears ! 
What sights of ugly death within mine eyes ! 
Methought I saw a thousand fearful w T recks; 
A thousand men that fishes gnaw'd upon ; 
Wedges of gold, great anchors, heaps of pearl, 



58 ADVANCED ELOCUTION 

Inestimable stones, unvalu'd jewels, 

All scatter'd in the bottom of the sea : 

Some lay in dead men's skulls : and in those holes 

Where eyes did once inhabit, there were crept 

(As 'twere in scorn of eyes) reflecting gems, 

That woo'd the slimy bottom of the deep, 

And mock'd the dead bones that lay scattered by. 

From " Richard III" — Shakespeare. 

The Tremolo Voice 

This quality is the result of intermittent impulses. The 
flow of the voice is broken. The vowels, instead of being 
uttered smoothly, are made up of a succession of im- 
pulses. Any overpowering emotion results in tremor. 

Great joy, sorrow, anger, and fear take the tremolo. In 
all intense emotions, even at times in argument, this 
quality is suggested. 

In the exercises appended, not all the words should be 
strongly marked with tremolo. This is left to the discre- 
tion of the student or teacher. 

1. 0, father abbot, 

An old man, broken with the storms of state, 
Is come to lay his weary bones among ye : 
Give him a little earth for charity ! 

From " Henry VIII" — Shakespeare. 

2. Queen. Hamlet ! speak no more, 
Thou turn'st mine eyes into my very soul, 
And there I see such black and grained spots 
As will not leave their tinct. . . . 

Oh ! speak to me no more ; 
These words like daggers enter in mine ears ; 
No more, sw x eet Hamlet ! 

Hamlet. A murtherer and a villain ; 
A slave that is not twentieth part the tithe 
Of your precedent lord ; a Vice of kings ; 
A cutpurse of the empire and the rule, 
That from the shelf the precious diadem stole 
And put it in his pocket. 






QUALITY 59 

Quern. No more ! 

Hamlet. A king of shreds and patches — 

Enter Ghost. 
Rave me and hover o'er me with your wings, 
You heavenly guards ! What would your gracious figure ? 

Queen. Alas ! he's mad ! 

Hamlet. Do you not come your tardy son to chide 
That, laps'd in time and passion, lets go by 
The important acting of your dread command ? 
Oh ! say ! — From u Hamlet " — Shakespeare. 

3. " Jove with us ! Jove with us !" }^elled all the Roman 
faction in a frenzy of delight — " Messala ! Messala ! Jove 
with us !" — From " Ben-Hur " — Lew Wallace. 

4. Cassius. ye gods ! ye gods ! Must I endure all this ? 

From " Julius Csesar " — Shakespeare. 

IMPURE VOICE 

As already mentioned five types or qualities of voice 
are classed as impure, viz. : Aspirate, Guttural, Nasal, 
Falsetto, and Oral, descriptions of which follow : 

The Aspirate Voice 

This quality is produced by an admixture of breath 
and vocalization. A greater quantity of breath is used 
than is necessary to produce the tone required. It is part 
whisper and part vocal sound. There may be all grades 
between a whisper and vocalization. 

It is used in secrecy and great awe, and is often used in 
conjunction with the Pectoral. 

Examples 

1. Lady Macbeth. Alack, I am afraid they have awak'd, 
And 'tis not done. The attempt and not the deed 
Confounds us — Hark ! I laid their daggers ready ; 
He could not miss them — Had he not resembled 
My father as he slept, I had done't. 

From " Macbeth " — Shakespeare. 



60 ADVANCED ELOCUTION 

2. Lady Macbeth. I hear a knocking ; 

Get on your night-gown, lest occasion call us, 
And show us to be watchers : — be not lost 
So poorly in your thoughts. — Ibid. 

3. Macbeth. Avaunt ! and quit my sight ! Let the earth 

hide thee ! 
Thy bones are marrowless, thy blood is cold ! 
Thou hast no speculation in thine eyes 
Which thou dost glare with ! — Ibid, 

4. Steady, boys, steady ! 
Keep your arms ready, 

God only knows whom we may meet here, 

Don't let me be taken — 

I'd rather awaken 

To-morrow in — no matter where, 

Than lie in that foul prison hole over there. 

From " The Wounded Soldier " — Anon. 

5. " If we'd of gone three hundred yards further," he 
whispered, falling back and smiling broadly, "we'd a run 
into the pickets. I went nigh enough to see the videttes 
settin' on their hosses in the main road. This here ain't 
no road. I've got one of the men to show us the way." 

" Where is he ?" whispered Mary. — From " Dr. Sevier " — 
Geo. W. Cable. 

The Guttural Voice 
This quality is the result of contraction of the muscles 
of the throat above the larynx. The passage is partly 
closed and the breath forced through it, making a rasping 
sound. It should be avoided except in impersonation. 
Speakers unconsciously using this quality often have 
throat trouble as a result. It is the language of harshness, 
hatred, and violence, and must injure the vocal organs if 
long indulged in. The muscles of the throat contract just 
as the muscles of the hand and body, and thus this voice 
is in keeping with the involuntary action of the body 
when the mind is filled with hatred or revenge. 



QUALITY 61 

Examples 

1. Gloster. Stay you that bear the corse and set it 

down. 
Anne. What black magician conjures up this fiend, 
To stop devoted charitable deeds? 

Gloster. Villains, set down the corse ; or by Saint Paul, 
I'll make a corse of him that disobeys ! 

Gentleman. My lord, stand back and let the coffin 

pass. 
Gloster. Unmannered dog! stand thou when I com- 
mand : 
Advance thy halberd higher than my breast, 
Or, by Saint Paul, I'll strike thee to my foot, 
And spurn thee beggar, for thy boldness. 

From "Richard III" — Shakespeare. 

2. Shylock. Signior Antonio, many a time and oft 
In the Rialto, you have rated me 

About my monies and my usances : 

Still have I borne it with a patient shrug ; 

For suff 'ranee is the badge of all our tribe. 

You call me " misbeliever," " cut-throat dog," 

And spet on my Jewish gaberdine, 

And all for use of that which is mine own. 

Well, then, it now appears you need my help ; 

Go to, then ; you come to me and say, 

" Shylock, we would have monies :" — you say so ; 

You, that did void your rheum on my beard 

And foot me, as you spurn a stranger cur 

Over your threshold : monies is your suit, 

What should I say to you ? Should I not say, 

" Hath a dog money ? Is it possible 

A cur can lend three thousand ducats ?" Or 

Shall I bend low, and in a bondsman's key, 

With 'bated breath, and whispering humbleness, 

Say this, — " Fair sir, you spet on me on Wednesday last • 

You spurned me such a day ; another time 

You call'd me dog ; and for these courtesies 

I'll lend you thus much monies." 

From " Merchant of Venice " — Shakespeare. 



62 ADVANCED ELOCUTION 

3. Lear. Blow, winds, and crack your cheeks! rage! 

blow ! 
You cataracts and hurricanes spout 
Till you have drench'd our steeples, drown'd the cocks ! 
You sulphurous and thought-executing fires, 
Vaunt couriers of oak-cleaving thunderbolts, 
Singe my white head ! and thou, all-shaking thunder, 
Strike flat the thick rotundity o' the world ; 
Crack nature's molds, all germins spill at once, 
That make ingrateful man. 

From " King Lear " — Shakespeare. 

4. May you wander as I wander, suffer shame as I now 
suffer it ! Cursed be the land you till ; may it keep faith 
with you, as you have kept faith with me ! Cursed be 
thy children ! May they wither as my young heart has 
withered ! Cursed, thrice cursed may you be evermore ! 
And as my people on Mount Ebal spoke, so speak I thrice, 
Amen ! Amen ! Amen ! — From "Leah the Forsaken " — Daly. 

The Nasal Voice 

In every well-regulated voice the sound waves escape 
from both the mouth and nose, and their union forms 
what we term voice. Dr. Makenzie says that every well- 
regulated voice is in reality a whole choir of sounds. The 
initial sound is produced by the vibration of the vocal 
chords, the chest takes this up and returns it; the cavities 
of the mouth, head, and nose send forth their resonance, 
and these harmoniously joined make the agreeable 
voice. 

Often the sound is projected almost entirely through the 
nasal passages. On the other hand, many, because the head 
cavities are stopped by cold, or because of permanent dis- 
use, speak entirely through the mouth, excluding the 
head and nasal resonance. This, also, results in what is 
usually termed nasality. 

A Nasal tone is one, then, where the head and nasal 
passages are used, either too much or too little. 



QUALITY 63 

This tone should be practiced little and only to acquire 
proper balance between the head and chest resonance. It 
should be used only in impersonation. 

Examples 

1. " The birds can fly, an' why can't I ? 

Must we give in," says he, with a grin, 
" That the bluebird an' phoebe are sniarter'n we oe? 
Jest fold our hands, an' see the swaller, 
An' blackbird an' catbird beat us holler ?" 
From " Darius Green and His Flying Machine " — Trow- 
bridge. 

2. Dogberry. Come hither, neighbor Seacoal. 

God hath blessed you with a good name ; to be a well- 
favored man is the gift of fortune ; but to write and read 
comes by nature. . . . 

You are thought hew to be the most senseless and fit 
man for the constable of the watch ; therefore bear you 
the lantern, you are to bid any man stand, in the prince's 
name. 

Seacoal. How if he w T ill not stand ? 

Dogberry. Why, then, take no note of him, but let him 
go ; and presently call the rest of the watch together, and 
thank God you are rid of a knave. 

From "Much Ado About Nothing " — Shakespeare. 

3. Old man never had much to say — 'ceptin' to Jim — 
And Jim was the wildest boy he had — 
And the old man jes' wrapped up in him ! 
Never heerd him speak but once 
Er twice in my life — and the first time was 
When the army broke out, and Jim he went, 
The old man backin' him fer three months. 
And all 'at I heerd the old man say 
Was, jes' as w T e turned to start away — 
Well ; good-bye, Jim ; 
Take keer of yourse'f. 
From " The Old Man and Jim " — James TVhitcomb Riley. 



64 ADVANCED ELOCUTION 

The Falsetto Voice 

This quality is mentioned chiefly that it may be avoided. 
It may be produced by man imitating the voice of woman. 
It is the product of the head register. Usually the vocal 
bands vibrate their entire length, but in ascending the vocal 
scale a point is reached where the vocal mechanism 
changes ; above this is the Falsetto Voice. The vocal bands 
are drawn so closely together that at the ends they overlap 
and thus the length of vibrating element is shorter, hence 
a higher note. 

This may be used by men imitating the voices of women 
and children. (But taste usually requires that these 
should be merely suggested, without the use of the fal- 
setto.) It is frequently heard in a scream, loud cries, and 
calling ; also at times in representing animal cries. 

It is frequently heard in street cries, as : 

vies ! 
feesh ! her- cream I 

Cat- Straw- Ice- 

Also in calling, as : 

lie ! Oh ! Char- 

Char- lie I 

over ! . ferry ! 

Hie you man of the 

In imitating the moaning of the wind the voice runs 
from chest tones to falsetto and back again. 

The Oral Voice 

This is produced by weakness or senility. It is a thin, 
weak voice, resembling the sound of a whistle when 
there is not a sufficient volume of steam. Mental or 
physical suffering, insanity, and complaining are often 
expressed in this quality. 



TIME 65 

Examples 

1. Hamlet 0, I die, Horatio ! 
The potent poison quite o'er-crows my spirit; 
I cannot live to hear the news from England ; 
But I do prophesy the election lights 
On Fortinbras ; he has my dying voice ; 
So tell him, with the occurrents, more and less, 
Which have solicited — The rest is silence. — 

From " Hamlet " — Shakespeare. 

9. Jo. It's turned wery dark, sir. Is there any light a 
comin' ? 

Mr. Woodcourt. It is coming fast, Jo. 

Jo. I hear you, sir, in the dark, but I'm a gropin' — a 
gropin' — let me catch hold of your hand. — From " Death 
of Little Jo " — Dickens. 

3. Adam. Dear Master, I can go no further ! I die 
for food ! Here lie I clown, and measure out my grave. 
Farewell, kind master. — From " As You Like It" — Shake- 
speare. 

4. " Look !" she said, " I see my father 

Standing lonely at his doorway, 
Beckoning to me from his wigwam 
In the land of the Dacotahs." 

From " Hiaicatha " — Longfellow. 



TIME 

" Now fast, now slow, 
The south winds blow."— Ellsworth. 

He who masters all the other principles of expression, 
but neglects this, w T ill be monotonous and dull in his de- 
livery. 

Intelligent variety is the soul of expression, and much 
of the monotony of speech is broken up by proper varia- 
5 



66 ADVANCED ELOCUTION 

tions of time. In conversation we speak, now rapidly and 
now with more deliberation. One sentence comes to the 
mind in a flash, and is given to the hearer in its molten state ; 
another must be wrought out before or during delivery. 

In excitement the voice is not only higher in pitch, but 
usually more rapid in movement also, while in grave and 
speculative passages the voice drops, and more time is 
given to the utterance. 

There is a close relation between Time and Pitch. When 
the mind is accelerated the ideas form more rapidly, and 
hence the words which express them follow each other at 
shorter intervals. But this tense mental condition acts 
upon the vocal organs in another way ; it tensions all the 
muscles which control voice, and hence a higher pitch is 
produced. 

Life and vitality mean increased muscular action, which 
results in rapid utterance and higher pitch. 

At times, however, when excited, the voice may be low 
and the time slow. This happens when the natural ex- 
pression is controlled, which control, as already explained, 
is, on certain occasions, very effective. 

In some selections the utterance should be rapid 
throughout, while in others it should vary in time from 
sentence to sentence or from clause to clause. This 
principle should be observed in the following extracts : 

Examples 

1. On Monday, the 14th of October, 1793, a cause was 
pending in the Hall of Justice in the new Revolutionary 
Court, such as those old stone walls never before wit- 
nessed — the trial of Marie Antoinette. The once bright- 
est of queens, now tarnished, defaced, forsaken, stands 
here at the judgment bar, answering for her life. The in- 
dictment was delivered her last night. To such changes 
of human fortune, what words are adequate? — From 
" Execution of Marie Antoinette " — Thomas Carlyle. 



TIME 67 

2. To them his heart, his love, his griefs were given, 
But all his serious thoughts had rest in heaven. 

As some tall cliff that lifts its awful form, 
Swells from the vale, and midway leaves the storm ; 
Though round its breast the rolling clouds are spread, 
Eternal sunshine settles on its head. 

From "The Deserted Village" — Goldsmith. 

3. Marley was dead, to begin with. There is no doubt 
whatever about that. The register of his burial was 
signed by the clergyman, the clerk, the undertaker, and 
the chief mourner. Scrooge signed it. And Scrooge's 
name was good upon 'Change for anything he chose to 
put his hand to. Old Marley was as dead as a door -nail. 
— From "The Christmas Carol " — Dickens. 

4. There's a dance of leaves in the aspen bower, 
There's a twitter of winds in the beechen tree, 

There's a smile on the fruit and a smile on the flower ; 
And a laugh from the brook that runs to the sea ! 

Bryant 

5. Citizens. Come, away, away ! 
We'll burn his body in the holy place, 
And with the brands fire the traitors' houses. 
Take up the body. Go fetch fire. 
Pluck down benches. Pluck down forms, 
Windows, anything. 

From " Julius Caesar " — Shakespeare. 

6. Pindarus. Fly further off, my lord, fly further off ! 
Mark Antony is in your tents, my lord ! 

Fly, therefore, noble Cassius, fly far off ! 

Cassius. Titinius, if thou lovs'k me, 
Mount thou my horse and hide thy spurs in him, 
Till he have brought thee up to yonder troops 
And here again, that I may rest assur'd 
Whether yon troops are friend or enemy. — Ibid. 

7. Desaix fell at the first volley, but the line never 
faltered, and as the smoke cleared away the gamin was 
seen in front of his line marching right on, and still beat- 



68 ADVANCED ELOCUTION 

ing the furious charge, over the dead and wounded, over 
breastworks and fallen foe, over cannon belching forth 
their fire of death, he led the way to the victory. — From 
" The Victor of Marengo " — Anon. 

8. On deck beneath the awning, I dozing lay and yawning ; 

It was the gray of dawning, ere yet the sun arose ; 
And above the funnel's roaring, and the fitful winds de- 
ploring, 
I heard the cabin snoring with universal nose. 
I could hear the passengers snorting — I envied their dis- 
porting, 
Vainly I was courting the pleasures of a doze ! 

So I lay and wondered why light came not, and 
watched the twilight, 
And the glimmer of the skylight, that shot across the deck ; 
And the binnacle, pale and steady, and the dull glimpse of 

the dead-eye, 
And the sparks in fiery eddy that whirled from the 

chimney-neck. 
In our jovial floating prison there was sleep from fore 

to mizzen, 
And never a star had risen the hazy sky to speck. 

%. ^ >!< ^ ^ %. 

And so the hours kept tolling, and through the ocean 
rolling 

Went brave Iberia bowling before the break of day — 

When a squall upon a sudden, came o'er the waters scud- 
ding ; 

And the clouds began to gather, and the sea was lashed to 
lather, 

And the lowering thunder grumbled, and the lightning 
jumped and tumbled, 

And the ship and all the ocean woke up in wild com- 
motion. 

Then the wind set up a howling, and the poodle-dog a 
yowling, 

And the cocks began a crowing, and the old cow raised a 
lowing, 

As she heard the tempest blowing ; and the fowls and 
geese did cackle, 



TIME 09 

And the cordage and the tackle began to shriek and crackle ; 

:<: ^ >fc %> -> ^ 

And the captain he was bawling, and the sailors pulling, 
hauling, [squalling, 

And the quarter-deck tarpauling was shivered in the 
And the passengers awaken, most pitifully shaken. 

From " The White Squall " — Thackeray. 

9. Not a drum was heard — not a funeral note. 

As his corse to the rampart we hurried ; 

Not a soldier discharged his farewell shot, 

O'er the grave where our hero we buried. 
%. %. ^ >i< ^ ^ 

Slowly and sadly we laid him down. 

From the field of his fame fresh and gory ; 
We carved not a line, and we raised not a stone 

But left him alone with his glory. 

From " Burial of Sir John Moore n — Wolfe. 

10. The pall was settled. He who slept beneath 
Was straightened for the grave ; and as the folds 
Sank to the still proportions, they betrayed 
The matchless symmetry of Absalom. 
His helm was at his feet ; his banner, soiled 
With trailing through Jerusalem, was laid 
Reversed beside him. 

The soldiers of the king trod to and fro, 
Clad in the garb of battle ; and their chief, 
The mighty Joab, stood beside the bier, 
And gazed upon the dark pall steadfastly, 
As if he feared the slumber er might stir. 
— A slow step startled him ! He grasped his blade 
As if a trumpet rang ; but the bent form 
©f David entered — and he gave command, 
In a low tone, to his few followers, 
Who left him with his dead. 

The king stood still 
Till the last echo died: then, throwing off 
The sackcloth from his brow, and laying back 
The pall from the still features of his child, 
He bowed his head upon him, and broke forth 
In the resistless eloquence of woe. 

From u David's Lament for Absalom'' 1 — N. P. Willis. 



70 ADVANCED ELOCUTION 



PITCH 

And still with a voice of dolorous pitch, 
Would that its tone could reach the rich, 
She sang this " Song of the Shirt."— Hood. 

Pitch is an exceedingly important factor in expres- 
sion. While it is not marked in accordance with the 
scale, as in music, yet its use is governed by the same 
general laws. 

High notes and rapidity of utterance are the language 
of action and acceleration of movement. Increased activ- 
ity produces a greater number of vibrations, resulting in 
a higher pitch. When the mind is active or excited, the 
nerves strung and the muscles tensioned, the organs which 
produce voice are in sympathy with the mental and 
physical state, and the result is higher pitch. 

A low pitch is the result of mental or physical depres- 
sion. Despondency, awe, and reverence affect men from 
the mental nature down through the outward manifesta- 
tions in voice and action. 

Pitch, from the speaker's standpoint, is both absolute 
and relative. Certain characters, in impersonation, can 
only be represented by peculiar vocal qualities, and one 
of these factors is proper pitch of the voice. A low voice 
represents a sombre character, while a higher range sug- 
gests a lighter or more excitable nature. 

But relatively also pitch is important, and has reference 
to the changes from the medium key used by the speaker. 
One may speak upon a high key, but by dropping a note 
or two the voice will seem quite low by contrast, and this 
may be effective when the extreme sentiment is not long 
sustained. But when the character is assumed through- 
out, the accompanying quality of voice, including pitch, 
becomes absolute. 



PITCH 71 

The changes of pitch by means of the slide have already 
been considered under Inflection. 

The following examples will afford the student practice 
in the application of the laws governing Pitch. 

Examples 

1. Show me the man you honor ; I know by that 
symptom, better than by any other, what kind of a man 
you yourself are. For you show me then what your ideal 
of manhood is ; what kind of a man you long inexpressibly 
to be. — Thomas Carlyle. 

2. Not in vain the distance beacons. Forward, forward 

let us range, 
Let the great world spin forever down the ringing grooves 

of change, 
Thro' the shadows of the globe we sweep into the younger 

day ; 
Better fifty years of Europe than a cycle of Cathay. 
Mother-age (for mine I knew not) help me as when life 

begun : 
Rift the hills, and roll the w r aters, flash the lightnings, 

weigh the Sun- 
On ! I see the crescent promise of my spirit hath not set. 
Ancient founts of inspiration w r ell thro' all my fancy yet. 

From "Locksley Hall " — Tennyson. 

3. We live in deeds, not years ; in thoughts, not breaths ; 
In feelings, not in figures on a dial. 

We should count time by heart-throbs. He most lives 
Who thinks most — feels the noblest — acts the best. — Bailey. 

4. The man wdio hath no music in himself, 
Nor is not moved with concord of sw r eet sounds, 
Is fit for treason, stratagems, and spoils; 

The motions of his spirit are dull as night, 
And his affections dark as Erebus ; 
Let no such man be trusted. 

From " Merchant of Venice " — Shakespeare. 



72 ADVANCED ELOCUTION 

5. I come! I come! ye have called me long, 
I come o'er the mountains with light and song ! 
Ye may trace my step o'er the wakening earth, 
By the winds which tell of the violet's birth, 
By the primrose stars in the shadowy grass, 
By the green leaves opening as I pass. 

From the streams and founts I have loosed the chain, 
They are sweeping on to the silvery main, 
They are flashing down from the mountain brows, 
They are flinging spray from the forest boughs, 
They are bursting fresh from their sparry caves, 
And the earth resounds with the joy of waves. 

From " The Voice of Spring " — Mrs. Hcmans. 

6. My native country, thee — 
Land of the noble, free — 

Thy name I love; 
I love thy rocks and rills, 
Thy woods and templed hills ; 
My heart with rapture thrills 

Like that above. 

Let music swell the breeze, 
And ring from all the trees 

Sweet freedom's song ; 
Let mortal tongues awake ; 
Let all that breathe partake ; 
Let rocks their silence break, — 

The sound prolong. 
From "My Country! 'Tis of Thee"—S. F. Smith. 

7. Casca. Liberty ! Freedom ! Tyrrany is dead ! — 
Run hence, proclaim, cry it about the streets. 

Cassius. Some to the common pulpits, and cry out, 
" Liberty, freedom, and enfranchisement!" 

Brutus. People and senators ! be not affrighted ; 
Fly not; stand still: — ambition's debt is paid. 

Casca. Go to the pulpit, Brutus. 

Deems, And Cassius, too. 

Brutus. Where's Publius ? 



titch 73 

China. Here, quite confounded with this mutiny. 
Mctcllas. Stand fast together. 

From " Julius Cxsar " — Shakespeare. 

8. Bernardo. Who's there? 

Francisco. Na) r , answer me; stand and unfold yourself. 
Ber. Long live the king ! 
Fran. Bernardo ? 
Ber. He. 

Fran. You come most carefully upon your hour. 
Ber. 'Tis now struck twelve ; get thee to bed, Francisco. 
Fran. For this relief much thanks ; 'tis bitter cold and 
I am sick at heart. — From " Hamlet " — Shakespeare. 

9. Over the river they beckon to me, 
Loved ones who crossed to the other side ; 

The gleam of their snowy robes I see. 

But their voices are drowned by the rushing tide. 
There's one with ringlets of sunny gold, 

And eyes the reflection of heaven's own blue ; 
He crossed in the twilight gray and cold, 

And the pale mist hid him from mortal view, 
We saw not the angels that met him there — 

The gate of the city we could not see ; 
Over the river, over the river, 

My brother stands waiting to welcome me. 

From " Over the River "—Nancy A. W. Priest. 

10. It must be so — Plato, thou reasonest well ! 

Else whence this pleasing hope, this fond desire, 

This longing after immortality ? 

Or whence this secret dread, and inward horror, 

Of falling into naught? Why shrinks the soul 

Back on herself, and startles at destruction ? 

'Tis the divinity that stirs within us ; 

'Tis heaven itself, that points out an hereafter 

And intimates eternity to man. 

From " Cato^s Soliloquy " — Addison. 

11. Alas, poor Yorrick ! — I knew him, Horatio ; a 
fellow of infinite jest, of most excellent fancy; he hath 



74 ADVANCED ELOCUTION 

borne me on his back a thousand times; and now, how 
abhorred in my imagination it is. — From " Hamlet " — 

/S Y Aa£6sp<2are. 

12. Brutus. It must be by his death ; and for my part, 
I know no personal cause to spurn at him. 
But for the general. He would be crown'd : 
How that might change his nature, there's the question. 
It is the bright day that brings forth the adder, 
And that craves wary walking. Crown him ? — that ; — 
And then, I grant, we put a sting in him, 
That at his will he may do danger with. 
The abuse of greatness is, when it disjoins 
Remorse from power ; and to speak truth of Csesar, 
I have not known when his affections sway'd 
More than his reason. But 'tis a common proof 
That lowliness is young ambition's ladder, 
Whereto the climber-upward turns his face ; 
But when he once attains the upmost round, 
He then unto the ladder turns his back, 
Looks in the clouds, scorning the base degrees 
By which he did ascend. So Caesar may. 

From " Julias Csesar " — Shakespeare. 



FORCE, VOLUME, INTENSITY 

Pour the full tide of eloquence along, 
Serenely pure, and yet divinely strong.— Pope. 

The amount of voice and its Intensity are determined 
by the nature of the sentiment and the size of the audi- 
ence. 

Volume depends upon the amplitude of the sound 
waves. 

Force has reference to the height of these impulses. 

In comparing waves of sound with waves of water, we 
notice in the latter that at times they are long distances 
apart, and then again rise higher and are closer togetner. 



INTENSITY iO 

The air may be expelled from the lungs in small quan- 
tities, but when the impulse is firm and the throat open, 
the small sound resulting is projected to a great distance. 
Conversely, a large amount of air may be expelled, and 
the mouth and throat partly closed and the muscular 
action not vigorous ; this results in a large volume of 
sound without carrying power. 

A distant peal of thunder may be louder than the 
shriek of a whistle, but the latter might be more irritating 
because it would be more intense. Intense sounds need 
not be loud, and yet they may strike the ear very much 
as a flash of lightning affects the eye. 

Intensity of feeling calls for its corresponding quality 
of voice. The tendency with many speakers is to bawl 
when wrought up in delivery ; the voice rises to an ab- 
normally high pitch, often ending in a shriek. This is the 
language of nothing but excitement. In strong sentiment 
and passages of much feeling the vowel is struck firmly, 
but not loudly. 

When a speaker is moved the vocal organs are excited ; 
if there is no restraint the voice becomes rapid and clam- 
orous, and the speaker seems to be tossed in a tempest. 

But when, under these circumstances, the voice is 
controlled, a new element of strength is added, and the 
result is a peculiar quality, impossible to describe, but 
which may be called intensity. A speaker must have the 
mastery of all his powers, and as voice is the great ex- 
pressive agent, it follows that its control is imperative. 
One is not much affected at seeing a hysterical person 
weep, but the sobs of a strong man who is endeavoring to 
control his emotion is affecting in the extreme. 

Varieties of force may be represented by the following 
extracts. The student should remember that the amount 
of voice is governed by the intensity of the sentiment and 
the number of persons addressed. 



76 ADVANCED ELOCUTION 

The extracts in the various preceding chapters may 
also be used to represent varieties of force. 

Examples 

1. The snow had begun in the gloaming, 

And busily all the night 
Had been heaping hedge and highway 

With a silence deep and white. 
Every pine and fir and hemlock, 

Bore ermine too dear for an earl, 
And the poorest twig on the elm tree 

Was ridged inch-deep with pearl. 

I stood and watched by the window 

The noiseless work of the sky, 
And the sudden flurries of snow-birds, 

Like brown leaves whirling by. 
I thought of a mound in sweet Auburn, 

Where a little headstone stood ; 
How the flakes were folding it gently, 

As did robins the babes in the wood. 

From " The First Snoiv-Fall " — Lowell. 

2. I once had a little brother 

With eyes that were dark and deep ; 
In the lap of that dim old forest, 

He lieth in peace asleep ; 
Light as the down of the thistle, 

Free as the winds that blow, 
We roved there the beautiful summers, 

The summers of long ago. 

From " Pictures of Memory " — Alice Gary. 

3. They drew him to my very feet, insensible, dead. 
He was carried to the nearest house, and every means of 
restoration was tried ; but he had been beaten to death by 
the great wave, and his generous heart was stilled forever. 

As I sat beside the bed when hope was abandoned, and 
all was done, a fisherman who had known me when 
Emily and I were children, and ever since, whispered my 
name at the door. " Sir, will you come over yonder ?" 






FORCE, VOLUME, INTENSITY 77 

The old remembrance that had been recalled to me was 
in his look, and I as^ed him : " Has a body come ashore?" 
"Yes." -Do I know it?'' 

He answered nothing, but he led me to the shore, and 
on that part of it where she and I had looked for shells, two 
children— on that part of it where some lighter fragments 
of the old boat blown down last night had been scattered 
by the winds — among the ruins of the home he had 
wronged — I saw him lying with his head upon his arm as 
I had often scon him lie at school. — From "David Copper- 
Jield " — Charles Dickens. 

4. Till the cricket came, nature had remained voiceless ; 
it is, with the cicada, the patriarch of song. 

It has successively witnessed all the epochs of the 
world's progressive evolution; it has seen the formation of 
continents ; its note is like the echo of vanished ages, a 
faint reminiscence of the past, I seemed, therefore, in 
that evening concert to be carried back to a period pre- 
ceding by millions of years the creation of man. I listened 
to the cricket and understood it. It said : " Be not un- 
grateful ; do not forget your best friend, nature, that 
mother ever young and ever charming ; do not spend your 
life within stone walls; do not breathe incessantly the 
dust of your factories ; do not waste awa} r in the 
stupid noises of your cities ; come back to us sometimes 
and drink in the atmosphere of fields and woods. All 
the voices of nature invite }^ou to admire the beauty of the 
universe about you ; its history is full of interest ; under- 
stand it, and live somewhat like us in the calmness and 
happiness of simplicity.'' — From " Nature " — Camille Flam- 
marioR. 

5. Ye crags and peaks, I'm with you once again ! 
I hold to you the hands you first beheld, 
To show they are still free. Methinks I hear 
A spirit in your echoes answer me, 
And bid your tenant welcome to his home 
Again ! sacred forms, how proud you look ! 
How high you lift your heads into the sky ! 
How huge you are ! how mighty and how free ! 



78 ADVANCED ELOCUTION 

Ye are the things that tower, that shine, — whose smile 
Makes glad, whose frown is terrible, whose forms, 
Robed or unrobed, do all the impress wear 
Of awe divine. Ye guards of liberty, 
I'm with you once again ! I call to you 
With all my voice ! I hold my hands to you, 
To show they still are free. I rush to you, 
As though I could embrace you. 

From "Tell on his Native Hills " — J". S. Knowles. 

6. King Henry. Once more unto the breach, dear 
friends, once more ; 
Or close up the wall with our English dead ! 
In peace there's nothing so becomes a man 
As modest stillness and humility ; / 

But when the blast of war blows in our ears, 
Then imitate the action of the tiger ; 
Stiffen the sinews, summon up the blood, 
Disguise fair nature with hard-favor'd rage ; ' 
Then lend the eye a terrible aspect ; 
Let it pry through the portage of the head, 
Like the brass cannon. 

Now set the teeth, and stretch the nostrils wide ; 
Hold hard the breath, and bend up every spirit 
To its full height ! On, on, you noble English ! 
I see you stand like greyhounds in the slips, 
Straining upon the start. The game's afoot ; 
Follow your spirit ; and, upon this charge, 
Cry — God for Harry ! England ! and Saint George ! 

From "Henry V" — Shakespeare. 



RHYTHM 



"I pray you, mar no more of my verses by reading them ill-favoredly." — 
Shakespeare. 

Rhythm is the regular and harmonious recurrence of 
pleasant sounds. Civilization itself means system and 
proportion. Science is beautiful in spirit, for it seeks after 



RHYTHM 79 

plan and purpose, and how beautiful is that knowledge 
which endeavors to reconcile every fact and phenomenon 
with every other, however diverse they may appear to be. 
Beauty is harmony and purpose, and it is difficult to sepa- 
rate the aesthetic from the utilitarian. The artist repre- 
sents rhythm in outline and in light and shade ; the 
sculptor embodies it in symmetry and proportion ; the 
writer in beautiful thoughts and graceful sentences ; 
the musician in pleasing combinations of melody, and the 
speaker comes in close communion with all these when 
by voice and manner, he throws over the rugged forms of 
speech, the mantle of flowing harmony. 

The sense of beauty and adornment exists to a degree 
in every human being. How essential and powerful, then, 
it may become in spoken language. 

There is no conflict between rhythm and sense. Sing- 
song is not rhythm, nor is harsh and broken discourse the 
sign of intellectuality. The highest form of beauty is not 
incompatible with the best sense. 

Rhythm is not entirely mechanical. It must first exist 
in the person's nature ; the ear must be able to detect and 
appreciate it, before it can be produced. It may be culti- 
vated, but will never reach its perfection till it rises far 
beyond mere mechanism. It is the result of taste as deli- 
cate as that of an artist. 

The province of the rhetorician will not be encroached 
upon by giving here examples with which text-books 
abound. His work will be supplemented rather by em- 
phasizing a few principles of this subject peculiarly within 
the domain of the reader or speaker. 

This subject may be considered under four heads : 
Time, Accent, Movement, and Tone-Color. 



80 ADVANCED ELOCUTION 

TIME 

Time is a factor in Rhythm observed by the best writers 
in their arrangement of the measure, and it should be as 
carefully regarded by the reader. 

In all well-written compositions the poet has suggested 
the movement by the metre, but when, from the nature of 
the poem, the spirit of the sentiment varies, the interpreter 
must not allow himself to be hampered by the mechanism. 
What the poet has done is not meant to hinder but to help 
the speaker. 

Observe how the different measures in the following 
selections harmonize with the varying nature of the sen- 
timent : 

Examples 

1. The Assyrian came down like a wolf on the fold, 
And his cohorts were gleaming with purple and gold; 
And the sheen of their spears was like stars on the sea, 
When the blue wave rolls nightly on deep Galilee. 

From " The Destruction of Sennacherib " — Byron. 

2. One touch to her hand, and one word in her ear, 
When they reached the hall door, where the charger stood 

near ; 

So light to the croup the fair lady he swung, 

So light to the saddle before her he sprung ; 

" She is won ! We are gone, over bank, bush, and scaur ; 

They'll have fleet steeds that follow !■" quoth young Loch- 
invar. From " Lochinvar "— Scott 

3. I sprang to the stirrup, and Joris, and he ; 

I galloped, Dirck galloped, we galloped all three; 
" Good speed !" cried the watch, as the gate-bolts un- 
drew ; 
" Speed !" echoed the wall to us galloping through ; 
Behind shut the postern, the lights sank to rest, 
And into the midnight we galloped abreast. 
From "Hoiv they Brought the Good News " — Robert Browning. 



RHYTHM 81 

4. The splendor falls on castle-walls 
And snowy summits old in story ; 
The long light shakes across the lakes 

And the wild cataract leaps in glory. 
Blow, bugle, blow, set the wild echoes flying; 
Blow, bugle, blow ; answer, echoes, dying, dying, dying. 
From " The Princess " — Tennyson. 

5. Singing through the forests, 
Rattling over ridges, 
Shooting under arches, 

Rumbling over bridges, 
Whizzing through the mountains, 

Buzzing o'er the vale, 
Bless me ! this is pleasant, 
Riding on a rail. 
From "Rhyme of the Rail" — John G. Saxe. 

6. Did you hear of the Widow Malone, 

Oh one ! 
Who lived in the town of Aihlone, 

Alone ! 
Oh, she melted the hearts 
Of the swains in them parts 
So lovely the Widow Malone, 

Ohone ! 
So lovely the Widow Malone. 

From "Widow Malone"— Charles Lever. 

7. How beautiful this night ! the balmiest sigh, 
Which vernal zephyrs breathe in evening's ear, 
Were discord to the speaking quietude 
That wraps this moveless scene. — Shelley. 

8. Once upon a midnight dreary, while I pondered weak 
and weary [lore, 

Over many a quaint and curious volume of forgotten 
While I nodded, nearly napping, suddenly there came a 
tapping, 
As of some one gently rapping, rapping at my chamber 
door. — From "The Racen" — Edgar A. Poe. 
6 



82 ADVANCED ELOCUTION 

9. 'Tis midnight's holy hour, and silence now 

Is brooding like a gentle spirit o'er 

The still and pulseless world. Hark ! on the winds 

The bell's deep tones are swelling; 'tis the knell 

Of the departed year. 

From u Tke Closing Year " — George D. Prentice. 

ACCENT 

Accent is so well understood that its study for prose 
reading is unnecessary. We learn accent in the same 
way we learn words ; it is a part of their pronunciation. 
Every one appreciates the value of rhythmical movement. 
It is pleasant to listen to the regular splash of the waves 
on the shore, the cry of the katydid, the steady patter of 
rain, or the horse's hoof-beats on the frozen earth. 

Accent is stress given to a sound ; it is pulsation and con- 
sequent recession. By proper accent one syllable stands 
out prominently while the others are comparatively ob- 
scure. In poetry these pulsations are regular, while in 
prose they are not governed by any rule, In compositions, 
however, where the emotions are aroused and the imagina- 
tion is given play, there is a tendency toward beautiful 
forms of expression, and a great many prose passages of 
the best writers are very rhythmical. The rhythm in the 
italicized parts of the following is perfect : 

She was dead. No sleep, so beautiful and calm, so free from 
trace of pain, so fair to look upon. She seemed a creature fresh 
from the hand of God. — Charles Dickens. 

Again the pealing organ heaved thrilling thunders. — Irving. 

As all modern English poetry is marked by regularly 
recurring accent, examples may be found anywhere. 

The reader should observe its principles, exercising care 
not to render it too prominent on the one hand, nor en- 
tirely to obscure it on the other. If it is made too promi- 



rhythm 



83 



nent it has the effect of scanning, and this is not pleasing. 
AVhen it is entirely obscured, the poetry will be destroyed, 
and will have no more effect than prose. 

MOVEMENT 

Beauty is represented by harmony. Waves and curves 
are used to express it. In poetry the ragged edges of mere 
intellectuality are smoothed down, and the thought is 
presented in a more pleasing form. 

In much of prose reading, the voice moves in straight 
lines and angles, but in poetry, which is usually the ex- 
ponent of the emotions, and which appeals so largely to 
the imagination, the voice becomes not only rhythmical, 
but it moves also in graceful waves. Perhaps there are as 
many inflections in poetry as in prose, for these serve to 
bring out the sense (and there should be intelligence of 
the highest order underlying every poem), but the inflec- 
tions are of a different kind. Often the downward slide 
curves upward at its close, to meet the next sound, and to 
render the break in the flow of voice less abrupt : and the 
rising inflection bends downward for the same reason. In 
beautiful sentiment, there are many waves, but no angular 
circumflexes. The greater the beauty and the more im- 
aginative, grave, or reverent, the greater should be the 
time upon the vowels. 

TONE COLOR 

Tone color is a feature of all oral expression, but it is 
especially prominent in poetry. Tones are peculiarly the 
language of the emotions, and beautiful passages can be 
uttered effectively only by an understanding of their 
values. True poetry takes this into consideration, and is 
written with a knowledge of the proper sounds with which 
the words should be uttered. 



84 ADVANCED ELOCUTION 

Many words of our language owe their origin to their 
sound which suggests a particular idea or action, so that 
even a granger to the language would guess their meaning. 
These are tone words. Almost all other words acquire a 
special value when uttered with proper intonation and 
shading. A correct use of tones is necessary to the delicate 
sentiments of poetry. 

The mere sound conveys almost the entire meaning of 
the following words : 

Roar, thud, roll, peal, gurgle, swash, splash, tug, glide, 
murmuring, thunder, rasp, grate, howl, wriggle, boom. 

Note the tone-coloring of the following : 

1. I heard the trailing garments of the Night 

Sweep through her marble halls ; 
I saw her sable skirts all fringed with light 
From the celestial walls. 

From "Hymn to the Night " — Longfellow. 

2. The moan of doves in immemorial elms, 

And murmuring of innumerable bees. — Tennyson. 

3. " The Bells," by Poe, is masterly in its suggestiveness 
of the powers of spoken words. 



ENUNCIATION 

" Speak the speech I pray you .... trippingly on the tongue."— Hamlet. 

Enunciation has reference to the reaching power of the 
voice. It means the power of projection. It does not 
necessarily contemplate loudness. 

It may be divided into two branches : distinct articu- 
lation and tone projection. Each sound we hear is the 
result of certain soundwaves. Unless the impulses pro- 
ducing each sound have clear spacing and stand alone, the 



ENUNCIATION 85 

car will fail to separate the successive impulses. Throw 
a few pebbles into the water, and from each will radiate 
a series of waves. The ability of the eye to distinguish 
between these impulses depends upon their separation. 
It" there is not definite spacing between them they will 
appear to the eye as a hopeless jumble, and confusion 
will result. What these waves are to the eye sound waves 
are to the ear. 

Each sound is the result of an impression made upon 
the ear; it is a photograph of vibrations; our mental 
nature perceives differences in these physical pictures, and 
hence our knowledge of tones. These vibrations may be 
vivid and distinct, and there may be no difficulty in per- 
ceiving them and in noting their differences. But when 
one begins before the other ends, and the impressions are 
indistinct, there will be an effort to classify them, and 
hence inability to hear and understand. 

Oftentimes a speaker is heard with effort, the audience 
unconsciously piecing out and filling in the discourse. 
Frequently the listener decides what a word is by the con- 
text, and often waits through sentences, before he can 
supply the missing link. 

In public delivery, all powers of speech are magnified ; 
the articulation becomes more distinct, the tone3 thrown 
well forward, the words struck firmly, and the utterance 
more deliberate. 

It may be set down as a rule that the voice follows the eye 
— it follows, token the eye looks with intelligence and purpose. 

There are speakers who look at the ceiling and the voice 
follows, others direct the eye to a few immediately in front 
of them, and probably but few others hear. Some look 
over the multitudes and speak to those farthest away, and 
many look at an audience and see without seeing, their 
eye has a dreamy, far-away look that shuts out the audi- 
ence from close sympathy and helpfulness. 



86 ADVANCED ELOCUTION 

Now, if when the eye reaches with an. intelligent look, 
the voice follows, how necessary it becomes to look the 
whole audience in the face, and to direct the discourse to 
every one present. Apart from tone projection, this is one 
of the most effective things a speaker can do. It should 
be remembered that an audience is a congregation of indi- 
viduals. 

The voice is thrown as a ball is thrown ; the distance 
is measured instantly, and the impulse is spontaneous and 
more or less accurate. In speaking to an individual, the 
voice is adapted to that person ; when talking to ten per- 
sons, the voice is unconsciously enlarged ; it is still further 
broadened in addressing a hundred, and then the speaker 
has emerged from conversation to public address. What 
is true of numbers is true of distance. We address 
persons within a few feet of us, at another time, we reach 
them hundreds of yards distant, and are not conscious 
of any mental calculation as to volume or quality of 
voice. 

Students may practice by uttering the vowels firmly 
with both musical and inflected tones (see charts) rapidly, 
then slowly, separating the sounds absolutely, and with a 
moderate degree of force. Practice in a large hall or room, 
using a comparatively small voice, and project the voice 
till it fills every part, spacing the words properly and 
bringing out clearly every syllable. 

Out-door exercise, where convenient, is excellent. The 
student may select an object at any distance and focus the 
voice at that point. AVhen practicing in a small room, 
the voice may be projected as though it were to be 
thrown a long distance, as across the street, or to the next 
house. 

An assistant may be of advantage in these exercises. Let 
him insist on hearing easily every syllable. Avoid shouting 
and keep the delivery natural, not overstrained or stilted. 



IMPERSONATION 87 

The endeavor to focus the voice in various parts of the 
mouth is of questionable value. The natural point is 
towards some object, as in the use of the voice in every- 
day experience. 

All the graces of recitation and oratory fail if the speaker 
is not understood. 



IMPERSONATION 

I'll play the orator, 
As if the golden fee, for which I plead, 
"Were for niyself.— Shakespeaee. 

Expression is largely the result of the innate nature of 
the sentiment, but not solely so. All expression is tinged 
by the character uttering it. One person bids us " good 
morning " in a very different manner from another, and in 
many plays the fool often utters wise words, and yet, 
through it all, presents the character of the fool. 

It is true that the nature of a person usually determines 
the kind of sentiment he will utter, but not always. For 
great men are not great at all times, nor are fools always 
fools. Even conventional and commonplace expressions 
bespeak one's personality. 

There are certain well-established and conventional forms 
of voice for particular kinds of characters. Naturally, we 
cannot know what many voices historically and actually 
were, but, understanding the character we are to interpret, 
a definite voice is assumed. 

We are constantly impersonating, and we are compelled 
to do so as long as men will receive impressions, not only 
by what we say, but by the way we say it. In reading 
aloud the words of Christ, if they are spoken with 
gentleness and power, their effect will be more marked. 
This is because the hearer is unconsciously impressed 
that He spoke them in that way. If, on the other hand, 



05 ADVANCED ELOCUTION 

the voice is harsh and cold, an audience cannot re- 
ceive the full import of the words, because they will 
unfailingly connect the manner of the interpreter with the 
author. 

Firmness and Dignity are usually represented in a pitch 
slightly below the medium ; the inflections tend in straight 
lines, inclining to the downward. The words are touched 
firmly and confidently. 

Examples 

1. We hold these truths to be self-evident: that all men 
are created equal. — From the Declaration of Independence, 

2. Brutus — I kiss thy hand, but not in flattery, Csesar. — 
From " Jidius Caesar " — Shakespeare. 

3. I shall enter on no encomium upon Massachusetts ; 
she needs none. There she is. Behold her, and judge for 
yourselves. — Daniel Webster. 

4. There was a South of secession and slavery: that 
South is dead. There is a South of union and freedom : 
that South is living, breathing, growing every hour. — 
From " The New South " — Henry W. Grady. 

Great Dignity and Arrogance take a more stately and 
measured movement. There is little inflection, and the 
voice moves almost altogether in straight lines. The voice 
is imperious and unbending. The pitch is low. 

Examples 

1. Now, Hamlet, where's Polonius? — Hamlet. 

2. For always I am Csesar. — Julius Csesar. 

3. Is our whole dissembly appeared? — Much Ado About 
Nothing. 



IMPERSONATION 89 

Villainy assumes many forms. There is the smooth, 
crafty villain like Fagan, the Jew, whose words are oily 
and whose phrases are smooth. 

The voice is soft and condescending, with considerable 
inflection, the sound of s being prominent, as in, 

Yes, Nancy, my dear. — Oliver Twist. 

There is also the brutal villain, who conceals nothing, 
but who is openly hard, cold, and depraved. The voice 
is very guttural and blunt, and falling inflections predomi- 
nate, as in the character of Bill Sykes : 

I'll kill you, Nancy. — Oliver Twist. 

Then there is the craft} r plotter, as Iago in Othello, and 
the cunning and heartless Shylock. In the voice of the 
latter there is much harshness, and the slides run into 
circumflexes ; as, Hath a dog money ? 

Impetuous Characters speak rapidly, often on a higher 
pitch. 

Laziness produces sluggish movement, running into a 
drawl, often accompanied by nasality. 

The Clown, and Uncouth Rural Characters usually 
have a great deal of nasality, coupled often with long 
slides on almost every word. Many examples may be 
found in poems and stories in dialect. (See Nasal 
Voice, page 62.) 

Mental weakness may be represented by a high, thin, 
unstable voice, with inflections often running through an 
octave. The voice may also run into tremolo and minor 
notes, as : 

Give me my shoes ; I want my shoes. — From " Tale of 
Two Cities " — Charles Dickens. 



90 ADVANCED ELOCUTION 

Man Imitating Woman. The voice is considerably 
higher than the ordinary, and of a much lighter quality ; 
there are also more inflections. 

Woman Imitating Man. The voice should be lower 
and firmer, with an increase in the number of downward 
inflections. 

Weakness of Character and Deference are marked by 
higher pitch, more upward slides and hesitancy of utterance. 

Ghostlike or supernatural characters are represented by 
a low, hollow voice, with very measured movement. The 
voice runs into minors, and occasionally is marked with 
tremolo. 

Ghost — My hour is almost come, 

When I to sulphurous and tormenting flames 
Must render up myself. 

From " Hamlet " — Shakespeare. 

What man is he who drinks hollands alone, in a church- 
yard, this time o' night. — Charles Dickens. 

There are as many kinds of characters as there are per- 
sons, but there are certain well-known types, and each 
type demands its own peculiar voice and manner. The 
best help a student can have in impersonation is to notice 
closely the classes of people representing different types, 
and by careful imitation he may grow proficient in im- 
personation. 

One guiding principle will be of service, viz. : the voice 
should represent the character. A firm character takes a 
firm voice, a " loud " character a loud voice, an unstable 
character an unstable voice, a mild character a mild voice, 
a harsh character a harsh voice, an indolent character 
an indolent voice. 

As the character is, so should the movements of the 
body be, and as the movements of the body are, so should 
the voice be. 



STRESS — CADENCE 91 



STRESS 



Stress is shown in the various exercises of the chart, 
and it can be considered better in that connection. It is 
placed principally upon vowels, but where these are in 
the midst of words it is difficult to treat of their stress 
scientifically. Many examples with which the books 
abound, intended to illustrate different varieties of stress, 
are better suited to represent other varieties of voice. 

The stress of a w r ord depends chiefly on the position of 
the accented vowel. Often a word beginning with an 
accented vowel is mistaken as the one that should have 
radical stress, while a firm inflection upon a word ending 
with an accented vowel, makes this word appear to have 
terminal stress. This happens without regard to the actual 
stress on the vowel, which usually has such short duration 
that the ear is unable to detect it. 

The subject may be considered with some profit under 
the guidance of a careful teacher, but it is impracticable 
to give exercises, for the student would be likely to misin- 
terpret them. 



CADENCE 



Her silver voice 
Is the rich music of a summer bird, 
Heard in the still night, with its passionate cadence.— Longfellow. 

There is no science on this subject that is clearly under- 
stood and recognized. Any consideration, therefore, of 
cadence would only tend to confuse the student, but all 
inquiries under this head can be satisfied, if the principles 
contained in other chapters of this work, are properly 
applied. 



92 ADVANCED ELOCUTION 



REMARKS 

The logical outgrowth and fruition of knowledge is Ex- 
pression. Knowledge, life, and truth seek to manifest the 
fact of their existence. 

The ability to express depends upon the knowledge of 
expressive media — the ability to symbolize. 

Thought and emotion do not create media (except 
through lapse of time) ; they use the media already pos- 
sessed. 

The symbols of Expression are learned principally 
through conscious, or unconscious imitation. 

Imitation is one of the most important faculties. 
Through it we gain materials. By imagination and in- 
vention we create new forms out of these materials. 

Most of our words and tones have been copied from 
others. Their use is tinged by our individuality. 

The first stages of art are largely imitative and techni- 
cal Technique should not be feared so long as it is cor- 
rect. 

The higher stages of art are those in which the student 
learns to create. He can create only out of the materials 
of which he is master. 

Mechanism can no longer master us when we master it. 
Freedom comes in obedience to law. We can never gain 
it till we master the Laws of Expression. 

Words are largely artificial symbols. Tones are innate 
and belong to the animal. Therefore, words are largely 
intellectual and formal ; tones are vital, spontaneous, and 
emotional. 

We cannot express what we cannot conceive. Often we 
cannot express even a tithe of what is conceived. 



VERBAL EXPRESSION 

" There is no point where Art so nearly touches Nature as when it appears 
in the form of words."— Holland. 

Whether language was given us by the Creator, or 
whether man was obliged to evolve the power of com- 
municating his thoughts to his fellow-man from the neces- 
sities of his existence, is less important to us, than the 
fact that we are in possession of language. 

That we complacently accept our inheritance, and too 
often fail to appreciate its value, is an acknowledged fact. 
That we whose glorious legacy is the English language, 
rich in poetry, comprehensive in history, profound in 
philosophy, fertile in fiction, and destined in time to 
become the language of the world — that we, together 
with the other English-speaking nations, are especially un- 
mindful of our inestimable heritage and of our exalted 
privilege, is greatly to be deplored. 

The importance of the study of language has been re- 
cognized in all ages ; and in our own time the opportunities 
for its study are so abundant that the humblest may avail 
himself of them. " For its beauty as a science," says au 
eminent writer, " for its usefulness as an art, for its disci- 
plinary advantages as a study, language can scarcely be out- 
ranked in excellence by any other subject open to the con- 
templation of finite minds." 

Language is what we speak. All articulate speech is 
made up of words. How few of us ever stop to con- 
sider the significance of words ! Little things, many of 
them, but how fraught with meaning ! And, singularly 
enough, not unfrequently their import is in inverse pro- 
portion to their size. " Words are the caskets in which are 
preserved forever the jeweled thoughts of the good and 

93 



94 ADVANCED ELOCUTION 

great." The spoken word is no less a casket than the written. 
That it may be a fitting repository of the jeweled thought, 
how careful should we be in the enunciation of our 
words. 

" Words," says Dr. Gilbert Austin, " should be delivered 
out from the lips as beautiful coins newly issued from 
the mint, deeply and accurately impressed, perfectly 
finished." Few persons, even among the most cultivated 
and polished speakers, attain to this high ideal. The 
natural downward tendency in speech ; the influence of 
careless habits acquired in childhood and youth ; the 
indifference of the schools ; the unconscious adoption of 
faults current in the community in which we dwell ; the 
purposed imitation of those whose general scholarship 
is acknowledged or whose characters we admire — these 
and many other influences combine to render our pronun- 
ciation very faulty. 

That more attention is being given to the subject of 
Orthoepy than formerly is beyond question. That the 
improvement has kept pace with the general advance 
along educational lines is doubtful. That the ear as well 
as the organs of articulation require special training in 
order to secure an accurate and finished pronunciation is 
certain. That the later lexicographers in this dictionary- 
producing age should incline toward the looser and more 
careless forms of pronunciation, already too prevalent, is, 
to those who are interested in securing a more perfect 
form of utterance, discouraging. 

A careful study of the principles and a diligent practice 
of the exercises found in the following pages will promote 
that chaste and elegant pronunciation which should be 
earnestly coveted by all who have any appreciation of the 
worth and beauty and destiny of the English language. 



VERBAL EXPRESSION 



95 



TABLE OF ELEMENTARY SOUNDS 





Vocals 


Key- Words 


23 


PCB- 
VOCALS 


Key- Words 




Aspi- 
rates 


Key-Words 


1 


a 


cane 


b 


i 

bale 


38 


f 


fill 


2 


tx 


can 


24 


d 


dale 


39 

j 


h 


hill 


3 


a 


car 


25 


g 


gale 


40 


k 


keel 


4 


a 


call 


26 


3 


jail 


41 


P 


peel 


5 


a, 


care 


27 


1 


lake 


42 


S 


soil 


6 


a. 


cast j 


28 


m 


make 


43 


t 


toil 


7 


a 


comma 


29 


n 


nice 


44 


ch 


chop 


8 


e 


feed 


30 


r 


rice 


45 


sh 


shop 


n 


e 


fed 


31 


V 


vice 


46 


th 


think 


10 


e 


fern 


32 


w 


wet 


47 


Wh 


why 


11 


i 


pine 


33 


y 


yet 








12 


i 


pin 


34 


z 


zeal 








13 


6 


note 


35 


zh 


azure 








14 


6 


not 


36 


th 


them 


j 
• 






15 


6 


nor 


37 


ng 


long 








16 


u 


cube 














17 


ii 


cub 














18 


u 


cur 














19 


00 


food 














20 


do 


foot 














21 


oi 


oil 














22 


ou 


out 















96 ADVANCED ELOCUTION 

ELEMENTARY SOUNDS 
1. THE ALPHABET 

From the foregoing table it will be observed that there 
are forty-seven sounds in the English language. A perfect 
alphabet of any language requires that it shall contain as 
many written characters as there are sounds in the spoken 
language. Since there are only twenty-six characters in 
the English alphabet, it is evident that it falls far short of 
being a perfect alphabet. And when it is remembered 
that three of the twenty-six characters (c, q, and x) are 
but duplicate representatives of sounds that are better rep- 
resented by other letters, the deficiency becomes still more 
apparent. 

2. MARKS OF NOTATION 

The disparity between the number of sounds and the 
number of letters makes it necessary for one letter to rep- 
resent several sounds, and, in other cases, to combine two 
or more letters to represent one sound. It is this that 
makes our language perplexing to spell and to pronounce, 
and difficult for ourselves as well as for foreigners to ac- 
quire. It has been estimated that about one-third of the 
school-life of every child is wasted in overcoming these 
disadvantages. 

The letter a, according to our table, is made to represent 
seven different sounds. This is accomplished by the use 
of certain marks placed over or under the letter. These 
marks are called diacritical points. 

The macron (-) is placed over the vowels a, e, i, o, u, to 
denote their long or name sounds. It is also placed over 
long oo. The breve (—) is placed over the same vowels to 
denote their short sounds. The diaeresis (••) is placed 
over Italian a and under broad a. The caret (A) is 
placed over coalescents a, e, o, u, to denote their close 



VERBAL EXPRESSION 97 

Union with, and peculiar modification by, r. The obelisk 
( J- ) is placed over intermediate a. The period ( • ) is 
placed over obscure a. It is greatly to be regretted that 
lexicographers and orthoepists have not adopted some 
uniform system of notation. 

3. DIGRAPHS 

The live vowels, with their various markings, represent 
eighteen sounds. The single consonants also represent 
eighteen sounds. The remaining eleven sounds are rep- 
resented by digraphs. A digraph is the union of two 
written characters to express a single articulate sound; 
as, oi in toil, or sh in shop. X vowel digraph is called a 
diphthong. The distinctions of proper and improper 
diphthongs are not essential to our purpose. The union 
of three written characters to express a single articulate 
sound is called a trigraph ; as, eau in beau, or sch in schist. 
If the three letters are vowels it is called a triphthong. 

4. SIGNS AND SOUNDS 

The written elements or signs are called letters ; the 
spoken elements are called sounds. The letters are di- 
vided into vowels and consonants. The vowels are a, e, i, 
o. u. The remaining letters of the alphabet are consonants. 
The letter y often serves as an equivalent for i, and in such 
case it becomes a vowel. It is doubtful whether the letter 
to is ever used alone as a vowel. Following a, it gives that 
letter the sound of broad a; as law, paw. Following e, it 
represents the sound of long u ; as new, few. Following o 
it is either silent, as in low, show, or helps to form the 
sound of diphthong oil, as in cow, how. 

The sounds are usually divided into three groups, which, 

by different writers, are given various names. A common 

classification is the following : vocals, sab-vocals, aspirates. 

The vocals are represented by the vowels ; the sub-vocals 

7 



98 ADVANCED ELOCUTION. 

and aspirates by the consonants. Some writers apply 
to the same divisions the terms tonics, sub-tonics, and 
atonies, 

On the basis of the physical formation of the sounds, 
such terms as labials, Unguals, dentals, gutturals, palatals, 
and nasals, are often employed. It is assumed that these 
are self-explaining, and are familiar to all students of 
verbal expression. 

5. ELEMENTARY SOUNDS 

The term " elementary " as applied to the foregoing 
table, and to similar tables of sounds, is very common, 
but it is well to note that it is not strictly accurate. The 
sound of u long is plainly composed of the sounds of the 
consonant y and the vowel oo long. The sound of i long 
is, in like manner, composed of Italian a and short i. 
Every vowel sound which, in the making, necessitates a 
change of mouth position, is diphthongal, The two sounds 
i and u, above named, are diphthongs as certainly as oi 
and oil The sounds of a long and o long are also diph- 
thongal. Among the consonant sounds, j and its cognate 
ch are capable of further analysis. For all the practical 
purposes of speech, however, the table may safely be called 
a table of elementary sounds. 

6. STANDARD AND CLIPPED SOUNDS 

A standard sound is the fullest form of an elementary 
sound. It is the completed sound unmodified by its sur- 
roundings. A clipped sound is one that lacks complete- 
ness by reason of the sound that precedes or follows it. 
In the words bay and cap, standing alone or at the end of 
a sentence, the terminal sounds, a and p, are standard 
sounds. In the word bacon the a is clipped, its vanish 
being cut off by the k sound following. In the sentence, 
" This cap took the prize," the sound of p in the word cap 



VERBAL EXPRESSION 99 

is clipped, being modified by the t sound of the next word. 
Thus vowel and consonant sounds are alike subject to 
modification by their surroundings. 

7. COGNATES 

The term " cognates " is applied to sounds requiring the 
same or nearly the same mouth positions ; as / and v in 
fail, vail; k and g in kale, gale; p and b in pale, bale ; s and 
z in seal, zeal; t and d in ton, done ; eh and j in cheer, jeer; 
sh and z h in Ashur, azure ; th and th in thigh, thy ; ivh and 
iv in where, ware. 

8. LONG AND SHORT 

It is unfortunate that the terms " long " and " short " 
should have been chosen as names for certain sounds in 
the table. Much misapprehension has been occasioned 
thereby. Many persons suppose that short e, for instance, 
is a shortened form of long e. As a matter of fact, short e 
is often longer in quantity than long e. The same is true 
of the other vowel sounds known as long and short. As 
these terms are well-nigh universal, however, it is perhaps 
better to retain them than to introduce others, and thereby 
increase the confusion already too prevalent in the no- 
menclature of elocution. By calling the first sound a long, 
or long a, using the term simply as a name for the sound, 
very little objection can be made to the use of the term, 
but to speak of it as " the long sound of a," as is too often 
done, is certainly not to be commended. 

DISCUSSION OF THE ELEMENTARY SOUNDS 
1. LONG A 

The sound of long a, as in cane, is most appropriately 
represented by the first letter of the alphabet, although 
other letters and combinations of letters frequently repre- 
sent the sound. It is diphthongal when given its full 



100 ADVANCED ELOCUTION 

name sound, as in day, lay, weigh, terminating in an ob- 
scure short % and even verging upon long e when the sound 
is prolonged. It loses its diphthongal quality by dropping 
the vanish in such words as baker, paper. 

2. SHORT A 

A vowel followed by one or more consonants is usually 
short, as can, ebb, in, on, up. Short a is often made with a 
harsh, unmusical quality of voice that should be studiously 
avoided. 

3. ITALIAN A 

The Italian a as heard in car, arm, palm, calf, is one of 
the most musical vowels in the language. It is to be re- 
gretted that the unmusical short a is so often erroneously 
used in its stead. When modified by r in words of more 
than one syllable, it approaches the sound of short o. 
Compare starry, sorry. 

4. BROAD A 

The sound of broad a as in call, contributes largely to 
the strength of our spoken language. It is often weakened 
by incorrectly substituting short o, as in water, coughing, 
slaughter. 

5. COALESCENT A 

All sounds are more or less modified by their surround- 
ings. In some cases the modification is very slight, in 
others it is very marked. The sound of r wields a great 
influence over the vowels. With e and u as in err, urn, it 
is hardly separable from the vowel. With a and o, as in 
care, orb, the connection is so close as to justify our using 
the two sounds as one in the phonetic analysis of words. 

The term coalescent is here employed to denote those 
sounds of a, e, o, and u, in which the r sound blends so 
closely with the vowel as to give it a distinctive sound. 



VERBAL EXPRESSION 101 

The sound of coalescent a is dependent upon the r for 
its quality. It is never heard except when followed by 
r. The same is true of e, o, and u. In certain sections of 
the country the faulty use of short a in carry in the pro- 
nunciation of such words as care, fare, dare, etc., prevails 
to a great extent. 

The older orthoepists regarded the a in care as long a, 
but the closer discrimination of the later phonetists 
properly accords to this sound a distinctive place in the 
table. 

6. INTERMEDIATE A 

The sound of a in cast is intermediate between short a in 
can and Italian a in car. It occurs chiefly in monosyllables 
ending in ff,ft, ss, st, sk, sp, nee, nt, and in their deriva- 
tives. The highest authorities concur in giving to this 
sound a distinctive place in the table of sounds, but in 
many sections of the country the middle and lower 
classes, and not a few of the higher classes, ignore the 
sound, and substitute for it the sound of short a. This is 
to be deplored, as the intermediate a is a softer and richer 
sound than that of short a, and the substitution of the 
faulty sound detracts greatly from the musical qualities 
of our speech. 

7. OBSCURE A 

When the letter a forms or terminates an unaccented 
syllable it usually takes the sound of obscure a, as in 
among, idea, comma. The frequent occurrence of this 
sound and its uniform character warrants us in assigning 
to it a special place in the family of sounds. If generally 
adopted by lexicographers its use would tend to make 
uniform and consistent much that is now quite other- 
wise. 



102 ADVANCED ELOCUTION 

8. LONG E 

Unlike long a, % o, and u, long e is not diphthongal. It 
is a simple sound, rarely incorrectly made, and is more 
frequently represented by ee or ea or other form of vowel 
digraph than by e itself. 

9. SHORT E 

This is a simple elementary sound. It should be sharply 
and neatly struck and never suffered to be drawled into a 
semblance of long a, followed by short u, as in fd-ud for 
fed. It should be carefully preserved in such words as 
solemn, poem, emblem, anthem, and not allowed to drift into 
the coarser form of short u. 

10. COALESCENT E 

This sound of e depends upon the r. It never occurs in 
English speech unaccompanied by r. The union of the 
two sounds is so close as to justify our considering them 
as one sound in the work of phonetic analysis. This 
sound should be carefully distinguished from coalescent u 
in such words as serge, surge, earn, urn, fir, fur, pearl, purl, 
disperse, disburse. 

The letter i with r represents the sound of coalescent e in 
such words as sir, first, firm. The letter y becomes a vowel 
under the same conditions, and, like i, represents coalescent 
e, as in myrrh, myrtle, martyr. 

11. LONG I 

When properly made this sound is not lacking in mu- 
sical quality, but, as too frequently heard, it is harsh and 
discordant. It is quite diphthongal, the initial sound being 
a full Italian a and the vanish an obscure short i when 
uttered briefly, as in unaccented syllables, and merges 
into long e when emphatic or prolonged. This vanish 
partakes of the sound of consonant y when the letter i pre- 
cedes a vowel, as in iamb, iota. 



VERBAL EXPRESSION 103 

12. SHORT I 

This is one of the shortest of the vowels termed short. In 
the mouths of careless speakers it is too often allowed to 
sink into an obscure form of short u in unaccented syllables. 
The beauty of the sound should be carefully preserved in 
such words as charity, prettily, beautiful, imitate. No sound 
more surely tests the polish and refinement of the culti- 
vated speaker. 

The vowel i with r forms a coalescent sound, just as a, e, 
o, and u do, but as the sound is identical with coalescent e, 
it is discussed under that head. 

13. long o 

This sound is diphthongal, the vanish being an obscure 
short oo, when unemphatic, and approaching long oo when 
emphatic or prolonged. 

14. short o 

This is a simple elementary sound. Like other sounds, 
it is subject to modification by its surroundings. When 
followed by d, g, f n, ng, and certain other consonants its 
quantity is prolonged, as in God, dog, off, on, gone, long. 
This has led certain orthoepists to give to this lengthened 
form of the vowel a special place in the table. While 
the consonant modification is more marked in the case of 
this sound than in most of the other vowels, yet it is not 
well to regard it as a separate sound. 

Many careless speakers erroneously substitute broad a 
for short o in such words as the above. 

15. COALESCENT O 

This is the sound of o followed by r as heard in more, 
morn, door, form. Some of the dictionaries and many or- 
thoepists regard the o in such words as fore, sore, four, soar, 
door, words in which the vowel is supposed to be affected 



104 ADVANCED ELOCUTION 

by the terminal e, or in which the sound is represented by 
the digraphs oa, ou, oo, as being long o, and the o in such 
words as corn, storm, fork, short as broad a. This sound, 
therefore, deserves more than a passing notice. 

No sound in the list of vowels termed long will combine 
closely with r. The a in care, which the old orthoepists 
regarded as being long a, is now, by general consent, given 
a separate place in the table. The e in see is not quite 
like the e in seer, sere, but the difference is not sufficiently 
great to warrant our giving it a distinctive place. The i 
in higher is not just the same as the i in hire. The o in 
mower is a sharply defined £ow/ o; the o in more, by 
reason of the closer union with r, is a much softer sound, 
more easy of utterance, and, as given by most Americans, 
educated and uneducated, is sufficiently unlike long o to 
justify us in assigning it a special place in the community 
of sounds. 

The sound of broad a is as little inclined to blend closely 
with r as is long a or long o. Pronounce caw, cawer, corn, 
and notice the modification in the utterance of the vowel 
of the third word due to the closer union with r. The 
digraph ou absolutely refuses to blend with r, and we are 
compelled to pronounce flour in two syllables just as we 
pronounce flower, and the pronoun our, when crowded into 
one syllable, is often incorrectly pronounced like the 
verb are. 

Assuming that long o and broad a in the family of 
sounds are ninety degrees apart, the coalescent o, this old 
sound in practice but new in name, will occupy a place 
about midway between them, with a separation of forty- 
five degrees from each. Having been duly adopted it 
becomes subject to the same laws that govern the other 
sounds. If a terminal e as in core, bourne, or a digraph as 
in soar, pour, causes the vowel sound to swerve several 
degrees in the direction of long o, it is still much nearer 



VERBAL EXPRESSION 105 

the place assigned to coaleseent o than to any other sound, 
and should be regarded as coalescent o. The same is true 
of its modification in the direction of broad a. Every con 
sideration prompts the honoring of this old sound by 
giving it a new name. 

16. long u 

This is one of the most diphthongal of vowel sounds. 
In truth its initial element is consonantal, consisting of 
the sound of y. Its vanish is long oo. Both its initial 
and its terminal element are subject to modification by 
their surroundings, the former often approaching short i 
and the latter short oo. 

Few sounds are more sadly abused than long u. Many 
persons never utter the sound correctly when it is preceded 
by one or other of the following consonants: d, g, j, I, ?i, 
s, t, ch< th, ich, and z. There are those who would regard it 
as an unpardonable offense against good pronunciation to 
hear some one pronounce beauty as if spelled booty, and yet 
will themselves pronounce duty as if spelled dooty a dozen 
times in a day with the utmost unconcern. 

Some orthoepists authorize the substitution of long oo for 
long u after j, /, and ch ; but, as, with a little practice, it is 
an easy matter to preserve the long u sound in such situa- 
tions, this usage should not be sanctioned. The only cases 
in which the letter u represents the sound of long oo are 
those in which the long u is preceded by r, sh, zh, or 10, as 
rude, shute. After t 7 , and perhaps one or two of the other 
consonants above named, the initial value of the long u is 
clipped, the y element verging toward short i. 

17. short u. 

This is one of the easiest sounds in point of utterance, 
and because of this fact, become3 the general reservoir into 
which drift many other sounds when not under the accent. 



106 ADVANCED ELOCUTION 

The italicized letters in the following words will illustrate: 
Char-i-ty, el-e-gj, po-ta-to. 

The sound of short u should be made with a more de- 
cided mouth position than many persons employ. The 
faulty relaxed mouth position produces a sound resem- 
bling short o. It is heard in such words as up, cup, gum, 
come, some, sun, nut. 

When short it is followed by rr, as in hurry, curry, fur- 
row, it is often incorrectly sounded like coalescent u. Ex- 
cept in the case of derivatives from words requiring the 
coalescent u, as in the adjectives furry and currish, from the 
nouns far and cur, the u takes the regular short sound, in 
accordance with the broad general rule that a vowel when 
followed by one or more consonants is short. The faulty 
use of coalescent u is so firmly established in the habit of 
many persons that much drill and careful practice are 
necessary to the correction of the error. 

18. COALESCENT U 

This sound is often called the " natural vowel," because 
of the lack of effort required in its utterance. Like short 
u, it is a sound toward which other vowels tend when not 
under the accent, or when they are not properly guarded. 

The coalescent u should be carefully distinguished from 
coalescent e (see Note 10), also from short u in such words 
as curry, hurry, farrow, burrow, borough, thorough, currant, 
current, currency, hurricane, murrain, surrogate, turret. 

19. LONG 00 

This is a pure vowel without diphthongal quality. By 
many orthoepists the letter o is employed in the table to 
represent the sound, as in do, to, move, prove. As the letter 
o already represents three sounds, and as the sound is more 
frequently represented by oo than by o, the digraph oo is 
used in the preceding table as the better representative. 



VERBAL EXPRESSION 107 

The sound of short oo is often erroneously substituted 
for this sound in food, root, roof, room, soon, etc. 

20. short oo 

Many orthoepists employ the letter u to represent this 
sound, as in pull, full, bull, push, bush. 

For reasons similar to those given in Note 19, the di- 
graph oo is preferred as the better representative. 

21. DIGRAPH 01 

The vowel digraph oi is the character almost uni- 
versally employed to represent the diphthongal sound 
heard in such words as oil, toy. Some orthoepists mark 
both letters in order to represent more clearly the proper 
.sound. Such persons as fail to pronounce correctly the 
above w r ords or the key-word in the table, w^ould scarcely 
be assisted by any system of marking. 

Most orthoepists represent the initial sound of this diph- 
thong as broad a and the vanish as short i. A close analy- 
sis will discover that the initial sound is not so open as 
broad a, but more like the sound of coalescent o. 

22. digraph ou 

The unmarked vowel digraph ou is employed as the 
best representative of this sound. It is heard in such 
words as out, foul, owl, -now, and is as often represented in 
literature by ow as by ou. While both digraphs are some- 
what irregular and uncertain in their pronunciation, the 
ou form is less frequently used to represent other sounds 
than the ow form. The normal English sound of ou is 
that heard in out when this word is properly pronounced ; 
the digraph ow 'as frequently represents long o as it does 
the diphthong ou. 

Many persons fail to use the sound correctly by making 
the initial element like short a instead of Italian a, its true 



108 ADVANCED ELOCUTION 

sound. This error produces a harsh, fiat, disagreeable 
sound that must be studiously avoided by all who aspire 
to a cultured and polished pronunciation. 

23. b 

Instead of taking up the consonant sounds in alphabet- 
ical order, the sub-vocals will be considered first, and 
afterward the aspirates. 

Unlike the vowels, the consonant sounds are certain and 
fixed in their character. Singly and in easy situations, they 
are rarely incorrectly sounded. Although much faulty 
articulation is due to the consonant elements, it is to be 
ascribed to the difficult combinations of sounds rather 
than to any inherent difficulty in the individual sound. 

The organs of speech find difficulty in passing rapidly 
from one extreme consonant position to the next, hence, 
often unconsciously, sounds are slighted or omitted, or 
easier but incorrect sounds are substituted. 

The sound of b in its physical formation is very similar 
to that of m. As an individual sound it is often, by be- 
ginners, confounded with the m sound. The distinction is 
easily understood, and, with a little careful practice, is 
easily made. 

In making the sound of m breath escapes through the 
nostrils. The m belongs, therefore, to the class of sounds 
called nasals. In the sound of b no breath escapes through 
either nose or mouth, hence the sound cannot be prolonged 
to any great extent. The student may be assisted in dis- 
tinguishing between the sounds of b and m by having him 
grasp the nose firmly with the thumb and first finger so as 
to prevent the escape of breath. The resultant sound 
must be that of b, 

The vanish of b is a very slight sound of p. The force 
of the b sound should be applied to the initial and not to the 
vanishing element. Caution should be observed not to 



VERBAL EXPRESSION 109 

terminate the sounds of b, d, g, or any other consonant 
sounds with an obscure short u as buh, duh, guh. 

Few persons are able to give the sound of b with as 
much power as is demanded in certain situations. The 
development of power is, therefore, important. To this 
end let the student utter a list of short words beginning 
with b, as boy, bay, booh, bin, or arrange drill exercises like 
ba, be, bi, bo, bit, giving in each instance as much power 
and length to the b element as possible. 

24. d 

The sound of d bears nearly the same relation to n that 
b bears to m. Much, therefore, that was said in the last 
note will apply here. The vanish of d is a very slight 
sound of t 

Be sure to develop sufficient power in the making of the 
b and d sounds to enable them to be distinctly heard in 
difficult situations. In such words as sands, mends, finds, 
ponds, sounds, the d is often slighted, and sometimes 
entirely omitted. 

25. g 

The guttural g bears much the same relation to the 
nasal ng that b bears to m and d to n. It, too, is often 
lacking in power, and should be strengthened by judicious 
exercises. The vanish of g is a slight sound of l\ (See 
Notes 23 and 24.) 

26. j 

The sound of j is not strictly elementary. The initial 
element is a clipped d and the vanish is zh, the sound 
heard in azure, measure, rouge. 

27. l 

The I is a musical consonant, and, on account of the 
smoothness of its flow, is often called a liquid. Unlike 



110 ADVANCED ELOCUTION 

most of the other consonants, it is capable of forming a 
syllable by itself, as in epistle, the t and e being silent. 

28. m 

The nasal m is one of the easiest sounds to utter, and is 
rarely incorrectly made. When followed by b or n in the 
same syllable, it usually renders those letters silent, as in 

lamb, condemn. 

29. n 

The nasal n is also easy of utterance, and presents no 
difficulties to the ordinary student. 



The most autocratic member of the kingdom of sounds 
is r. The influence of this sound is well-nigh imperial. 
No other consonant affects the vowel sounds to the ex- 
tent that the r does. It will not follow long a nor long 
o. Even when it follows long e and long i it steals their 
sharp edge, as in sere, hire. Placed before long it, it in- 
stantly changes that sound to long oo, as in rude, which is 
pronounced like rood. 

The sound of r is often difficult for beginners in pho- 
netics. It is easily distinguished by prolonging and lis- 
tening to the last sound in the word sir. 

When r precedes a vowel it should be trilled ; when it 
follows a vowel it should be smooth. The degree of the 
trill is governed by the character of the sentiment. In 
bold, impassioned utterance, and in all forms of digni- 
fied discourse, the trill should be quite decided ; in simple 
narration and plain description, and in the lighter con- 
versational forms, it should be less marked. The trilled r 
is sometimes called the rolled r or the vibrant r. Oliver 
Wendell Holmes, in his Words on Language, calls it the 
British r. The English, Scotch, and Irish use the trilled 
r much more than the Americans do, and in some of the 



VERBAL EXPRESSION 111 

European languages it is quite a prominent feature. The 
speech of most Americans would be improved by a larger 
use of the trilled r. 

In many sections of the South the r is slighted, and in 
some instances entirely omitted where it should be 
sounded, as in care, hear, sire, more, sure. poor. 

Many Americans have difficulty in producing the trilled 
r. especially where it is the first sound of the word, or when 
it is preceded by d. as in rate. drew. Such persons may 
find assistance in a drill exercise upon words beginning 
with th, as in a vigorous utterance of such words as three, 
thrice, thrall, thrash, thread, threat, thrift, thrill, thrive, throat, 
throb, throng, throne, thrush, through. 

31. v 

The sound of v, the cognate of/, is a simple elementary 
sound, and usually given correctly. The escaping breath 
should be thoroughly vocalized and the sound uttered 
with due force. 

32. w 

This sound approaches very closely to that of long oo. 
By prolonging a word like ice and holding the initial 
sound, we are enabled to distinguish its peculiar quality. 
That it is not identical with long oo is evident in the pro- 
nunciation of icoo, in which the change of the very close 
mouth position of w to the more open position of long oo 
is quite manifest. By some orthoepists the w sound is 
regarded as semi-vowel. Like I and r, it certainly partakes 
more of the character of a vowel than do the other con- 
sonants. Although it is vowel-like, it never performs the 
functions of a vowel. 

33. y 

The letter y represents both a vowel and a consonant 
sound. The vowel sound is heard in such words as by, 



112 ADVANCED ELOCUTION 

myth., myrrh, and as a vowel it is simply an equivalent for 
the vowel i. Its consonant sound is heard in yet, you, yore. 
The consonant y partakes slightly of the vowel character, 
and approximates the sound of long e. The distinction 
between them is noticeable in the prolonged utterance of 
the pronoun ye, holding the y and also the e. 

34. z 

The sound of z is often represented by the letter s, and 
sometimes by c and x as in days, wise, suffice, Xerxes. It is 
softer and more musical than its- cognate s, and is some- 
times employed to prevent a repetition of the unpleasant 
sibilant, as in gases, misses, blesses. 



The digraph zh presents an anomaly. It is doubtful 
whether the combination zh is ever employed in any 
legitimate English word to represent the sound commonly 
called the zh sound. It is most frequently represented by 
the letter s, as in measure, leisure, fusion ; sometimes by z, as 
in azure ; and occasionally by g, as in rouge. 

36. TH 

The vocalized th, like some of the other weaker sounds, 
needs strengthening by special drill exercises. The vig- 
orous utterance of words beginning with this sound, as 
this, that, them, there, these, etc., will be found helpful. 

Many words are mispronounced even by educated 
people, by substituting the aspirate th for the sub-vocal, 
as with, beneath, bequeath, booth. 

37. NG 

The sound of this nasal digraph is represented by ng 
at the end of a word, as song, long, and by n followed by 
k or g, as in ink, sank, fin-ger, Ion ger, when in the middle 
of a word. It is never employed to begin an English word. 



VERBAL EXPRESSION 113 

38. F 

This dento-labial, the first in the order of the list of as- 
pirate sounds, is of easy utterance. It is often represented 
by ph as in phrase, phlegm, and sometimes by gh, as in 
tough, cough, laugh. 

39. h 

This can scarcely be called a sound. It is a mere 
breathing, sometimes light and sometimes strong, and, when 
sounded, always precedes a vowel. It changes mouth 
position with every change of vowel that follows. As a 
representative sound, that is probably best which is heard 
when the h is followed by Italian a, as in ha. 

40. k 

The explosive aspirate k is greatly modified by its sur- 
roundings. The fullest, and therefore the best form as a 
standard k sound is that which is heard at the end of a 
word, as back, week, like. It is frequently preceded by silent c 
as in tack, check, sick, knock, luck. 

Its clipped form is most noticeable in such words as act, 
looked, raked, in which the terminal t sound, by its close 
union with k, necessitates the omission of the vanish of the 
latter sound. In such words as the above the presence of 
the k sound is more apparent in the k modification of the 
preceding vowel than in any discernible sound of k itself. 
The only audible part of the sound in any situation is that 
produced by the puff of breath following upon the break- 
ing of the contact of the tongue with the roof of the 
mouth. In such words as the above the k closure is 
merged into the t closure, the tongue rolls along the roof 
of the mouth from the point of k contact to the point of t 
contact, and the explosion is heard as t and not as k. 

The sound of k is often represented by c, both initial 
and terminal, as cat, lac, and sometimes by ch, gh, and g, as 
in chasm, hough, coquette. 
8 



114 ADVANCED ELOCUTION 

41. P 

The sound of p is an explosive aspirate, and as a stand- 
ard sound should be given with more abruptness and with 
less of that audible expulsion of breath so commonly 
heard. 

Much that is said of clipped k in the previous note 
will apply to clipped p. The student is therefore referred 
to Note 40. 

42. s 

Few consonant sounds are made by different persons in 
such a variety of ways as the sound of the effusive aspi- 
rate s. If any one will take the pains to listen to the s's of 
the first fifty persons he meets he will be convinced of the 
truth of this statement. Some make the s like the 
sound of the escaping steam from a locomotive engine ; 
some make it to sound like the soughing of the winds 
through the trees ; and others make so thin an s that it 
becomes almost a lisp ; and still others make it so sharp 
that it sounds more like an attempt to whistle than an 
element of articulate speech. It is difficult to describe 
what constitutes a really good s sound, but by carefully 
avoiding the above faults, and seeking to find a good model 
for imitation the ear will serve as a trustworthy monitor 
and a reliable guide. In fact, there is nothing more im- 
portant in the whole study of phonetics than a diligent 
cultivation of the ear. A thoughtful attention to the 
quality of the voice and the forms of articulate speech as 
heard in the usage of the people we meet, a careful com- 
parison of voice with voice and sound with sound, a pur- 
pose to have a mind quick to receive impressions, will, in 
a little while, result in an educated ear, and a greatly im- 
proved habit of speech, even without a teacher. 

The frequent occurrence of the s sound, which, at best, 
is not a pleasing sound, and which, as too often made, 



VERBAL EXPRESSION 115 

becomes doubly objectionable, renders it a subject for 
careful study. Foreigners say of our speech that it re- 
sembles the hissing of a flock of geese. This, and other 
well-founded criticisms often made by those who speak 
the softer languages of Southern Europe, might in a large 
measure be avoided by due attention to the musical prop- 
erties of our tongue. 

While the letter s is the best representative for the 
sound, and the one most frequently employed, the letter 
c often represents it also, and z upon rare occasions. The 
latter part of a; is generally sounded as s when followed by 
a consonant, and often when followed by a vowel, as ex- 
tent, expense, execrate, exigency. 

43. t 

The explosive aspirate t should be given, as a standard 
sound, with the same abruptness as was suggested in the 
discussion of p. (See Note 41.) 

Like k it is greatly modified by its surroundings. "When 
closely followed by a consonant the vanish, or explosive 
part, is lost in the next sound. (See Note 40.) 

44. ch 

The explosive digraph ch, as in chin, is not strictly 
elementary, being equivalent to tsh. In many cases the t 
precedes the ch, rendering that digraph equivalent to sh, as 
match, fetch, pitch, botch, crutch. In some cases the t is 
omitted, but the sound of the remaining ch is the same as 
tch in the above words, as such, rich, inch, bachelor. 

The digraph ch represents the sound of k in chasm, 
chaos, chorus, chronic, and the sound of sh in chaise, chi- 
canery, chevalier, charlatan. 

45. sh 

The digraph sh, as in shun, represents an elementary 
sound of easy utterance. The sound is represented by s, 



116 ADVANCED ELOCUTION 

as in sure, by ti in option, by ci in coercion, by si in conver- 
sion, and cA in chivalry. 

46. TH 

The sound of fA, as in £Am, is an elementary sound pre- 
senting no difficulty to the English or American mouth, 
but, like its cognate, the vocal th, furnishing a serious 
stumbling block to the foreigner. With s following, 
it presents a difficult combination even for the person 
whose native tongue is the English. Pronounce lengths, 
breadths, widths, depths, or the numerals, fourths, fifths, sixths, 
etc. Most persons come short of an easy and perfect 
utterance of these words. The th sound, as a rule, needs 
to be strengthened and preserved from the encroachment 
of the s. A proper proportion of quantity and force upon 
the several sounds of these and similar words is rarely 
heard. 

47. wh 

The digraph wh, as in when, may be said to consist of 
the h sound forced through the w mouth. It is not thor- 
oughly elementary. Just before passing to the vowel that 
follows, the acute ear will be able to discover the interven- 
tion of a slight w sound unmixed with h. There is noth- 
ing gained, however, by a transposition of the letters as 
represented by some dictionaries. To an English-speaking 
person the usual order, wh, will suggest the sound more 
quickly than hiv, and the foreigner would not get the 
sound from either arrangement without assistance. 



While the letters c, q, and x are not found in the pre- 
ceding table, and are not necessary to the representation 
of the elementary sounds of the English language, they 
ara, nevertheless, of such frequent recurrence as to justify 
some reference to them. 



VERBAL EXPRESSION 117 

The letter c represents at least five different sounds, as 
shown in the Table of Consonant Symbols on page 122. 

The letter q in English words is always followed by u, and 
the two letters represent the sounds of kw, as in quick, 
queer, quiet. In words of French origin the u or w sound 
is lost, as in bouquet, coquette. In the name of the French 
naturalist, Lecoq, the q is unaccompanied by the u. 

The student who is looking for convenient contractions 
will find good material in the letter q. Such spellings as 
qeer, qench, qiet, though appearing a little strange to the 
eye, would scarcely be mispronounced, for the mind 
naturally associates the letter u with q, and the iv sound 
would at once be suggested. 

In the letter x we already have a convenient contraction. 
Except when employed as the initial letter, as in xebec, 
it invariably represents two sounds. In tax, vex, six the 
letter x represents the sound of k and s. In exact, ex- 
aggerate, exalt, exist, exert, exonerate, exult, and in nearly all 
cases where the prefix ex is followed by an accented vowel 
the letter x represents the sounds of g and z. If followed 
by a consonant, x takes the sound of ks, as in expel, extin- 
guish, exchange. When followed by accented long a, as in 
£cude,-orthoepists differ. Some follow 7 the above rule and 
sound the x like gz ; others remembering, doubtless, that 
long u begins with the sound of consonant y, sound the x 
like ks. In such words as exhaust, exhibit, exhort, in which 
the letter h intervenes between the prefix ex and the ac- 
cented vowel, x generally represents the sound of gz. 
This is in accordance with the rule when h is made silent. 
Even those orthoepists who sound the h usually make the 
x like gz. In luxury the x is equivalent to ksh. 

Other convenient contractions are found in j, ch, and long 
u. The equivalent for j is dzh ; for ch is tsh; and for 
long u is yoo, 



118 ADVANCED ELOCUTION 

EQUIVALENTS 

The table of elementary sounds presented on page 95, 
furnishes what seems to be the simplest and best repre- 
sentative character for each of the forty-seven sounds of 
the language. It also gives as key-words for the several 
sounds such words as are familiar to everybody who has 
any knowledge of the English tongue, and the pronun- 
ciation is as uniform and unvarying as that of any words 
that could be selected. 

It remains to show what other letters and combinations 
of letters are often employed to represent the same sounds. 
Such substitutes are appropriately called equivalents. 

TABLE OF PHONETIC EQUIVALENTS 

VOWEL EQUIVALENTS 

a maelstrom, aid, gaol, gauge, lay, aye, re, great, melee, 
eh, vein, obey, bouqi^. 

a Isaac, plaid, gi^arantee. 

a bazaar ; haunt, sergeant, heart, gi^ard. 

a sauce, law, broad, soi^ght. 

a ^4aron, fair, prayer, there, pear, e'er, heir, eyre. 

a draught. 

a Savanna A. 

e C^sar, eat, feet, seize, people, key, pique, field, cesopha- 
gus, quay, Portuguese, turquoise. 

£ any, diuresis, said, says, bread, heifer, leopard, friend, 
ffidipus, bury, guess. 

e dearth, sir, gi^erdon, myrrh. 

I aisle, aye, height, eye, vie, choir, gmle, buy, by. 

l certain, .English, beaufin, been, foreign, donkey, car- 
riage, sieve, women, tortoise, bi^sy, build, 
plaguy, nymph. 

o PharaoA, maz^ve > beau, yeoman, sew, load, hoe, soul, 
grow. 



VERBAL EXPRESSION 119 

6 what, lough, knowledge. 

6 extraordinary, George, board, door, po^r. 

u beauty, neater, few, Ilea, view, your, cue, suit. 

u dungeon, gorgeous, cushion, son, does, porpoise, blood, 
touch, gallons. 

u worm, cupboard, journey. 

Go caoutchouc, rheum, grew, do, shoe, manoeuvre, group, 

rude, true, fruit, 

do wolf, would, pull, 

oi bourgeois, toy. 

ou Macleod, now. 

CONSONANT EQUIVALENTS 

b ebb 

ch violoncello. 

d Mellium, add. 

f laugh, phase, sapphire, staff. 

g e ##> fl*os£ 

j gem, exaggerate. 

k can, cAasrn, mock, hough, khan, gueen. 

1 mill, kiln. 

m drachm, apotheg??i, numb, cra??imed, limn. 

n gnash, knee, mnemonics, pneumonia, Ann. 

ng handkerchief, iuk. 

p hiccough, naphtha. 

r purr. 

s cede, psalm, sc/tism, science, waltz, 

sh ocean, cAaise, social, pshaw, schist, conscience, mission, 
sure, position. 

t asked, ptisan, phthisic, thyme. 

th phthisis, MaftAew. 

v of, Stephen. 

w zouave, guano. 

y onion, hallelujah, surveil/ance. 

z suffice, has, raspberry, Xerxes. 

zh rouge, bijoutry, measure, abscission, transition, azure. 



120 ADVANCED ELOCUTION 

It will be noticed that h and the digraphs ivh and vocal 
th have no equivalents. When these sounds are needed 
these letters are themselves present to represent them. It 
will also be observed that many of the letters in the com- 
binations marked as equivalents are silent letters, and 
perfectly useless so far as the pronunciation is concerned. 
Instead of assisting in determining the pronunciation 
they often constitute a hindrance. The a in aisle, the e in 
foreign, the i in plaid, the o in leopard, and the u in build, 
can scarcely be said to aid in the pronunciation of these 
words. The b in bdellium, the h in ghost, the ch in drachm, 
the p in raspberry, are equally useless. In phonetic analy- 
sis such letters should be regarded as silent, and not essen- 
tial to the representation of the sound. A rigid table of 
equivalents would exclude all such combinations as are 
composed in part of silent letters, and retain only those 
words where letters are necessary to represent the equiva- 
lent sound, as a in what, e in there, i in pique, o in son, u in 
busy, ch in chasm, gh in hough, ph in phase. 

The fuller table, as presented above, may have its uses, 
however, in showing the inconsistencies of English orthog- 
raphy and the need of an improved mode of spelling. 

The above table, which shows the various letters and 
combinations of letters employed to represent the same 
sound, would hardly be complete without a supplementary 
table showing the various sounds represented by the same 
symbol. This table is given on the next two pages, and 
furnishes a strong argument in favor of the Spelling Re- 
form movement. 



VERBAL EXPRESSION 121 



TABLE SHOWING THE SEVERAL SOUNDS REPRE- 
SENTED BY THE SAME SYMBOL 

VOWEL SYMBOLS 

a cane, can, car, call, care, cast, comma, any, what, 

aa ilaron, Isaac, salaam. 

ae maelstrom, Caesar, diuresis, 

ai aid, plaid, fair, said, aisle, captain. 

ao gaol, Pharaoh, extraordinary. 

aa gauge, launch, sauce, draught, hautboy. 

ay hay, aye (yes), prayer, says, quay. 

e mete, met, her, re, sergeant, there, .English, 

ea great, sergeant, heart, bear, heat, bread, dearth, 

eau beau, beauty, beaufin. 

ee meet, melee, e'er, been, 

ei rem, heir, seize, heifer, height, foreign, 

eo people, leopard, feod, yeomen, George, dungeon, Mac- 

leod. 

ew new, sew, grew. 

ey they, eyre, key, eye, monkey. 

i pine, pin, sir, pique. 

ie field, friend, vie, sieve, 

ii Pompeii, Hawaii. 

io cushion, onion. 

o note, not, nor. woman, women, do, son, wor 

oa boat, broad, board, cupboard, 

oe oesophagus, ffillipus, goes, does, shoes, 

oi oil, choir, tortoise, porpoise, 

oo food, foot, door, poor, blood, 

ou found, group, sought, soul, pour, jour, lough, touch. 

journey, could, zouave, 

ow wow, grow, knowledge, gallows. 

u cube, cub, cur, bury, busy, rude, pull, 

ua assuage, guaranty, guard, quay, guano. 



122 ADVANCED ELOCUTION 

ue bouquet, Portuguese, guess, guerdon, cue, true. 

ui guile, guild, suit, fruit. 

uy buy, plagtw/. 

CONSONANT SYMBOLS 

c eat, eent, suffice, oeean, violoncello, 

ch cAin, cAasm, eAaise. 

d day, asked. 

f fine, of 

g go, gem, rouge. 

gh lau#A, lough, ghost 

j jest, bijou, haMelu/ah. 

1 Zet, surveillance. 

n not, ink. 

ph pAial, StepAen, napAtha. 

qu gueen, guay. 

r thrill, far. 

s silk, was, sure, leisure, 

sch scAism, scAist, seAooi. 

si conversion, intrusion. 

t Zone, negotiate, 

th £Ain, them, thyme. 

ti position, transition. 

x tax, xiphias, exist, lururv. 

y yes, by, m?/th, myrrh. 

z zone, azure, waits. 



VERBAL EXPRESSION 



123 



UNUSUAL SOUNDS 

In the speech of many persons, educated and uneducated, 
the sounds of intermediate ei and coalescent e are never 
heard. Intermediate a is found chiefly in monosyllables 
ending in ff,ft : ss : st, si, sp, nee, and rd, and in their deriva- 
tives. The following list of words, if frequently and care- 
fully practiced under proper guidance, will serve to estab- 
lish the correct use of a very beautiful and musical sound : 



quaff 


mass 


pasture 


hasp 


staff 


pass 


plaster 


rasp 


abaft 


lass 


cast 


advance 


aft 


grass 


vast 


answer 


after 


glass 


repast 


chance 


craft 


class 


forecast 


dance 


draft 


blast 


ask 


enhance 


draught 


fast 


bask 


glance 


graft 


bombast 


basket 


lance 


haft 


contrast 


cask 


prance 


raft 


disaster 


casket 


trance 


rafter 


aghast 


flask 


ant 


shaft 


ghastly 


mask 


chant 


waft 


last 


task 


grant 


amass 


mast 


asp 


pant 


surpass 


mastiff 


clasp 


slant 


alas 


past 


grasp 


blanch 


brass 


pastor 


gasp 


branch 



A skillful use of the coalescent e contributes much to the 
elegance and polish of a speaker's diction. This sound is 
made in the front part of the mouth, and with a mouth 
position approaching chat of short e. The coalescent u, 
which is too often confounded with it, is a deeper sound, 
more guttural, and is made with projected lips. 



124 



ADVANCED ELOCUTION 



In the effort to avoid the coalescent u the student is apt 
to fall into the habit of making coalescent a. The annexed 
exercise will be helpful. Read across the page thus : jair, 
fir, fur. Then repeat the line backward, fur, fir, fair. Do 
not suffer any word to encroach upon the orthoepic prov- 
ince of its neighbor. 



dr 


h 




Hr 


fair 


fir 




fur 


bairn 


earn 




urn 


pair 


pearl 


purl 


Baird 


bird 




burred 


Sayre 


serge 


surge 


The following words will furnish additional practice : 


berth 


her 


perfect 


sir 


certain 


herb 


perfume 


skirt 


certify 


herd 


perhaps 


smirk 


circle 


hermit 


permit 


sperm 


circuit 


hearse 


perplex 


squirm 


clerk 


hirsute 


person 


stern 


deartl 


jerk 


perspire 


stir 


dirge 


Jersey 


persuade 


superb 


dirt 


kernel 


pervert 


submerge 


earth 


kersey 


quirk 


term 


earn 


learn 


refer 


terminal 


earnest 


merchant 


reverse 


tern 


ermine 


mercy 


rehearse 


terse 


erse 


merge 


reserve 


thermal 


ferment 


mermaid 


search 


thermometer 


fervid 


mirth 


serf 


third 


firm 


myrrh 


sermon 


thirst 


first 


myrtle 


serpent 


thirty 


germ 


nerve 


service 


universe 


germinate 


nervous 


shirk 


verb 


gherkin 


perch 


shirr 


verbal 



VERBAL EXPRESSION 



125 



verdant 


vernal 


vertex 


whirl 


verbose 


verse 


virtue 


whirlwind 


verge 


version 


were 


yearn 



The next four sounds to be considered (a, o, u, u) cannot 
be regarded in a general sense as unusual, but under cer- 
tain conditions other sounds are frequently incorrectly 
substituted for them. 

Italian a, when followed by r and another consonant, as 
in arm, barb, card, harm, yarn, is usually correctly sounded, 
but when not accompanied by r 3 the short a is often incor- 
rectly used instead ; as in balm, calm. palm, psalm, qualm, calf, 
half, ha. wrath, aunt, daunt, dauntless, flaunt, gaunt, gauntlet, 
jaunt, haunt, taunt, launch, staunrh, haunch, salve, halve, bath, 
path, ivrath, gape, laugh, laundry, jaundice, mustache. Their 
derivatives take the same sound. 

The sound of short o, when followed by g, n, ng.ff.ft. ss, 
st, is often incorrectly sounded like broad a ; as in log, dog, 
hog. fog. on, gone, long, prong, song, strong, thong, throng, off, 
coffee, soft, loft, croft, loss, moss, cross, lost, cost. 

Some orthoepists give to o in such words as the above a 
distinct place in the table, but the propriety of so doing is 
questionable since the modification is no greater than 
other vowels are subject to, and there is no physical diffi- 
culty in forming a close union ot the short o with the con- 
sonant following it. 

The sound of long u, when preceded by d, g.j, I, n, s, t, 
ch, th, ich, z, is frequently incorrectly changed to long oo ; 
as in : 



deuce 


duel 


gewgaw 


June 


dew 


duet 


gubernatorial 


July 


dual 


duke 


jew 


jury 


dubious 


dupe 


jewel 


juvenile 


ducal 


durable 


jubilee 


junior 


due 


duty 


juice 


juniper 



126 



ADVANCED ELOCUTION 



lubricate 


new 


stupendous 


Tuesday 


lucid 


nucleus 


stupid 


tuition 


lucrative 


nuisance 


sue 


tulip 


ludicrous 


numeral 


suicide 


tumult 


luminous 


nutriment 


suit 


tune 


lunacy 


nutritious 


suitable 


tutor 


lurid 


sluice 


superficial 


chew 


lute 


slew 


superintend 


chewing 


Lutheran 


stew 


supreme 


thews 


Lucifer 


steward 


superior 


enthusiasm 


neuter 


student 


tube 


whew 


neutral 


stupefy 


tubular 


zuche 



Except in a few derivatives as furry, currish, purring, 
occurring, concurring, recurring, when ur terminates an ac- 
cented syllable and the next syllable begins with a vowel 
or another r, the u takes its regular short sound. This rule 
is quite general and applies to a, e, i, and o, as well as to u. 
Car is changed to car in carol, carry ; Iter is changed to her 
in herring, heroine ; sir (« eV) is changed to sir in sirup, sirrah ; 
for is changed to Jbr in forest ; far is changed to fur in fur- 
roiv. 

Some persons have difficulty in uttering the short u in 
such a situation. The following suggestion may prove 
helpful. Pronounce hut with a firm and decided short u. 
Drop t, and pronounce hu several times vigorously. Then 
add ry, separating the syllables quite widely at first, and 
holding firmly to a sharply defined short u. Gradually, 
and with many repetitions of the word, bring the two 
syllables closer together until hurry is pronounced with a 
good short u. 

The following words should be practiced frequently and 
carefully until the habit of a correct pronunciation be- 
comes fully established : borough, burrow, currant, current, 
curricle, curry, curried, furrow, flourished, flourishing, hurry, 



VERBAL EXPRESSION 127 

hurrying, hurricane, murrain, no ur is J i, nourishment, surrogate^ 
turret, worry, thorough. 

Examples for Practice 

1. The fair girl placed her fur coat beneath the fir tree. 

2. The pretty bairn climbed up to the urn and took out 
a pearl. 

3. The earnest clerk sold herbs, gherkins, and sperm-oil. 

4. Her aunt laughed to see the calf quaS a draught 
from the purling brook. 

5. Tom Sayre cast his serge coat into the surging bil- 
lows to soothe the wrath of the mermaids. 

7. The hermit launched his raft, curled his mustache, 
and played a dirge upon his flute. 

7. The wild current hurried past, carrying disaster in 
its path. 

8. The dutiful merchant calmly awaited the return of 
his partner. 

9. The enthusiastic tutor forbade the use of chewing- 
gum by his junior students, declaring that it neither nour- 
ished their bodies nor illumined their minds. 

10. Strong coffee often disturbs the nerves. 

Suggestion. — Pronounce the words in the above sentences as indi- 
vidual words. This will be found to be a good preparation for the 
reading of the sentences. If, in this practice, pupils are disposed 
to utter the words too rapidly, have them begin at the end of the 
sentence and read backward, pronouncing each word with the 
utmost precision. 

CONSONANT COMBINATIONS 

Sounds which in themselves are easy enough often be- 
come difficult in combination. The k sound is easily 
made as a single sound, but in asked it is frequently 
omitted, the word being pronounced ast. The sound of 
th is not difficult when standing alone, but wedged in be- 



128 ADVANCED ELOCUTION 

tween / and s, it is made to suffer, and the word fifths in 
erroneously pronounced fifs, or fifts, and sometimes fiths. 

In all finished speech the proportions of the constitu- 
ent parts of a word need to be carefully regarded. In 
the mouths of careless speakers little attention is paid to 
this important matter. Difficult sounds are unhesitat- 
ingly exchanged for others of easier utterance that most 
nearly approach them, or they are so slighted as scarcely 
to be heard. In short, these people take the most un- 
bounded liberties with spoken language, considering their 
limited acquaintance with it. 

It is the purpose of the following exercises to furnish 
such opportunities for drill and practice as will secure and 
preserve the culture and polish of our English speech, and 
to beget in the coming generation a higher appreciation 
of the beauty and value of our mother tongue than the 
former generation has witnessed. 

The following exercises should receive careful drill until 
the pupil is able to utter the difficult combinations with 
the greatest ease. The individual sounds should be given 
first, then the combination, and after that the words con- 
taining the combination. 

INITIAL COMBINATIONS 

1. div. — dwarfed, dwelt, dwelling, dwindle. 

2. jr. — frail, frame, fraud, fraught, freeze, fresh. 

3. yl. — gladden, glance, gleam, glide, glisten, gloat. 

4. gr. — grace, grasp, gratis, grease, grief, grimace. 

5. hi. — claim, clang, clarion, clasp, clause, cleanly, clerk. 

6. pi. — placid, placard, plaid, plait, plant, plead, pleura. 

7. spr. — sprung, sprawl, spread, sprig, sprinkle, sprout. 

8. sf. — sphere, spherical, spheroid, spherule, sphinx. 

9. str. — straight, stream, stride, striped, strong, stroll. 

10. shr. — shred, shrewd, shriek, shrill, shrivel, shrub. 

11. tw. — twain, tweed, twelve, twine, twirl, twist, twitch. 

12. thr. — thrash, thread, three, thrive, throat, throne. 



VERBAL EXPRESSION 



129 



TERMINAL COMBINATIONS 

Suggestion, — In the following exercises the pupil should give 
the individual sounds represented by the italicized letters, then 
the combination, after which he should utter the words under- 
neath, bringing out distinctly and boldly in the utterance of each 
word, the combination of sounds at the head of the column. 
After the four columns of the exercise have been thus disposed 
of, the pupil should repronounee the words in order, from left to 
right, across the page. The distinction between the third and 
fourth word of each line should be carefully noted. Be sure to 
pronounce the d as t in all cases where the simple past tense ter- 
mination ed takes the t sound ; as quaffed, snuffed, asked, gasped, 
helped, chirped, thanked, marked, matched, searched. This will be 
found difficult at first in the contracted past tense forms as mark'dst, 
match! dst, stretch 1 dst, but a little careful practice will soon enable the 
student to pronounce all such words with ease, and the general 
articulation will be greatly improved thereby. Vary the exercises 
as soon as the first evidence of weariness is manifest, for the diffi- 
cult nature of these drills demands that the organs of articulation 
be in their best condition for effective work. 



1. bz 


bd 


bd 


bdst 


robs 


robbed 


robb'st 


robb'dst 


robes 


robed 


rob'st 


rob'dst 


probes 


probed 


prob'st 


prob'dst 


sobs 


sobbed 


sobb'st 


sobb'dst 


rubs 


rubbed 


rubb'st 


rubb'dst 


2. gz 


gd 


gst 


gdst 


begs 


begged 


begg'st 


begg'dst 


lags 


lagged 


lagg'st 


lagg'dst 


jogs 


jogged 


jogg'st 


jogg'dst 


lugs 


lugged 


lugg'st 


lugg'dst 


3. biz 


bid 


blst 


bldst 


humbles 


humbled 


humbl'st 


humbl'dst 


troubles 


troubled 


troubl'st 


troubl'dst 


crumbles 


crumbled 


crumbl'st 


crumbl'dst 


bridles 


bridled 


bridl'st 


bridl'dst 


9 


■* 







130 



ADVANCED ELOCUTION 



4. glz 


gld 


gist 


gldst 


struggles 


struggled 


struggl'st 


struggl'dst 


mangles 


mangled 


mangl'st 


mangl'dst 


mingles 


mingled 


mingl'st 


mingl'dst 


bungles 


bungled 


bungl'st 


bungl'dst 


5. flz 


fid 


fist 


fldst 


trifles 


trifled 


trifl'st 


trifl'dst 


baffles 


baffled 


baffl'st 


baffi'dst 


shuffles 


shuffled 


shuffl'st 


shuffi'dst 


stifles 


stifled 


stifl'st 


stifl'dst 


6. dlz 


did 


dlst 


didst 


bridles 


bridled 


bridl'st 


bridl'dst 


saddles 


saddled 


saddl'st 


saddl'dst 


handles 


handled 


handl'st 


handl'dst . 


bundles 


bundled 


bundl'st 


bundl'dst 


7. dnz 


dnd 


dnst 


dndst 


hardens 


hardened 


hard'n'st 


hard'n'dst 


saddens 


saddened 


sadd'n'st 


sadd'n'dst 


gladdens 


gladdened 


gladd'n'st 


gladdii'dst 


widens 


widened 


wid'n'st 


wid'n'dst 


8. tnz 


tnd 


tnst 


tndst 


brightens 


brightened 


bright'n'st 


bright'n'dst 


sweetens 


sweetened 


sweet'n'st 


sweet'n'dst 


shortens 


shortened 


short'n'st 


short'n'dst 


fattens 


fattened 


fatt'n'st 


fatt'n'dst 


9. hnz 


knd 


hist 


hidst 


blackens 


blackened 


black'n'st 


black'n'dst 


thickens 


thickened 


thick'n'st 


thick'n'dst 


awakens 


awakened 


awak'n'st 


awak'n'dst 


slackens 


slackened 


slack'n'st 


slack'n'dst 



VERBAL EXPRESSION 



131. 



10 


faz 


fad 


fast 


fndst 




deafens 


deafened 


deafn'st 


deafivdst 




stiffens 


stiffened 


stiff'n'st 


stift'n'dst 




softens 


softened 


soft'n'st 


soft'n'dst 




toughens 


toughened 


tough'n'st 


tough'n'dst 


11 


fi 


ft 


fst 


ftst 




quaffs 


quaffed 


quaff'st 


quaffxlst 




sniffs 


sniffed 


sniff'st 


sniff'dst 




snuffs 


snuffed 


snuff" st 


snuff'dst 




stuffs 


stuffed 


stuff st 


stuff'dst 


12. 


vz 


vd 


vst 


vdst 




waves 


waved 


wav'st 


wav'dst 




lives 


lived 


liv'st 


liv'dst 




loves 


loved 


lov'st 


lov'dst 




moves 


moved 


mov'st 


mov'dst 


13. 


hz 


Ivd 


hst 


Irdst 




delves 


delved 


delv'st 


delv'dst 




shelves 


shelved 


shelv'st 


shelv'dst 




solves 


solved 


solv'st 


solv'dst 




revolves 


revolved 


revolv'st 


revolv'dst 


14. 


viz 


rid 


vlst 


vldst 




drivels 


driveled 


drivTst 


drivTdst 




snivels 


sniveled 


snivTst 


sniv'Pdst 




shovels 


shoveled 


shov'l'st 


shovTdst 




grovels 


groveled 


grovTst 


grovTdst 


15. 


zlz 


zld 


zlst 


zldst 




dazzles 


dazzled 


dazzl'st 


dazzl'dst 




frizzles 


frizzled 


frizzl'st 


frizzPdst 




muzzles 


muzzled 


muzzl'st 


muzzl'dst 




puzzles 


puzzled 


puzzl'st 


puzzl'dst 



132 


ADVANCED 


ELOCUTION 




16. 


mz 


md 


mst 


mdst 




dims 


dimmed 


dimm'st 


dimm'dst 




hems 


hemmed 


hemm'st 


hemm'dst 




crams 


crammed 


cramm'st 


cramm'dst 




drums 


drummed 


drumm'st 


drumm'dst 


17. 


rlz 


rid 


rlst 


rldst 




hurls 


hurled 


hurl'st 


hurl'dst 




furls 


furled 


furl'st 


furl'dst 




twirls 


twirled 


twirl 'st 


twirl'dst 




whirls 


whirled 


whirl'st 


whirl'dst 


18. 


rmz 


rmd 


rmst 


rmdst 




harms 


harmed 


harm'st 


harm'dst 




charms 


charmed 


charm 'st 


charm 'dst 




forms 


formed 


form'st 


form 'cist 




squirms 


squirmed 


squirm'st 


squirm'dst 


19. 


rnz 


md 


vast 


mdst 




earns 


earned 


earn'st 


earn'dst 




learns 


learned 


learn'st 


learn'dst 




churns 


churned 


churn'st 


churn'dst 




spurns 


spurned 


spurn'st 


spurn'dst 


20. 


rvz 


rvd 


rvst 


rvdst 




carves 


carved 


carv'st 


carv'dst 




nerves 


nerved 


nerv'st 


nerv'dst 




serves 


served 


serv'st 


serv'dst 




swerves 


swerved 


swerv'st 


swerv'dst 


21. 


Mz 


Ed 


klst 


hldst 




cackles 


cackled 


cackl'st 


cackl'dst 




speckles 


speckled 


speckl'st 


speckl'dst 




tickles 


tickled 


tickl'st 


tickl'dst 




buckles 


buckled 


buckl'st 


buckl'dst 



VERBAL EXPRESSION 



133 



22. plz 


pld 


plst 


pldst 


tramples 


trampled 


trampl'st 


trampl'dst 


cripples 


crippled 


crippl'st 


crippl'dst 


crumples 


crumpled 


crumpl'st 


crumpl'dst 


scruples 


scrupled 


scrupl'st 


scrupl'dst 


28. th 


tld • 


tlst 


tldst 


rattles 


rattled 


rattl'st 


rattl'dst 


settles 


settled 


settl'st 


settl'dst 


throttles 


throttled. 


throttl'st 


throttl'dst 


scuttles 


scuttled 


scuttl'st 


scuttl'dst 


24. znz 


znd 


znst 


zndst 


blazons 


blazoned 


blaz'n'st 


blaz'n'dst 


reasons 


reasoned 


reas'n'st 


reas'n'dst 


poisons 


poisoned 


pois'n'st 


pois'n'dst 


prisons 


prisoned 


pris'n'st 


pris'n'dst 


25. sks 


skt 


skst 


sktst 


asks 


asked 


ask'st 


ask'dst 


tasks 


tasked 


task'st 


task'dst 


risks 


risked 


risk'st 


risk'dst 


husks 


husked 


husk'st 


husk'dst 


26. sps 


spt 


spst 


sptst 


gasps 


gasped 


gasp'st 


gasp'dsfc 


clasps 


clasped 


clasp 'st 


clasp'dst 


grasps 


grasped 


grasp'st 


grasp'dst 


lisps 


lisped 


lisp'st 


lisp'dst 


27. Ips 


Ipt 


Ipst 


Iptst 


scalps 


scalped 


scalp'st 


scalp 'dst 


helps 


helped 


help'st 


help'dst 


gulps 


gulped 


gulp'st 


gulp'dst 


yelps 


yelped 


yelp'st 


yelp'dst 



134 



ADVANCED ELOCUTION 



28. 


rps 


rpt 


rpst 


rptst 




carps 


carped 


carp'st 


carp'dst 




harps 


harped 


harp'st 


harp'dst 




chirps 


chirped 


chirp 'st 


chirp 'dst 




warps 


warped 


warp'st 


warp'dst 


29. 


ngz 


ngd 


rigst 


ngdst 




bangs 


banned 


bang'st 


bang'dst 




hangs 


hanged 


hang'st 


hang'dst 




wings 


winged 


wing'st 


wing'dst 




throngs 


thronged 


throng'st 


throng'dst 


30. 


ngks 


ngkt 


ngkst 


ngktst 




thanks 


thanked 


thank 'st 


thank'dst 




clanks 


clanked 


clank 'st 


clank 'dst 




links 


linked 


link'st 


link'dst 




clinks 


clinked 


clink 'st 


clink'dst 


31. 


Iks 


Ikt 


Ikst 


Iktst 




milks 


milked 


milk'st 


milk'dst 




bilks 


bilked 


bilk'st 


bilk'dst 




bulks 


bulked 


bulk'st 


bulk'dst 




skulks 


skulked 


skulk'st 


skulk'dst 


32. 


rks 


rkt 


rkst 


rktst 




marks 


marked 


mark'st 


mark'dst 




shirks 


shirked 


shirk'st 


shirk 'dst 




works 


worked 


work'st 


work 'dst 




lurks 


lurked 


lurk'st 


lurk'dst 


33. 


rbz 


rbd 


rbst 


rbdst 




barbs 


barbed 


barb'st 


barb'dst 




curbs 


curbed 


curb'st 


curb 'dst 




absorbs 


absorbed 


absorb 'st 


absorb 'dst 




disturbs 


disturbed 


disturb 'st 


disturb 'dst 



VERBAL EXPRESSION 



135 



34. ihz 


thd 


thst 


thdst 


sheathes 


sheathed 


sheath'st 


sheath'dst 


swathes 


swathed 


swath 'st 


swath'dst 


breathes 


breathed 


breath'st 


breath'dst 


wreathes 


wreathed 


wreath 'st 


wreath'dst 


35. j 


jd 


jst 


jdst 


cage 


caged 


eag'st 


cag'dst 


pledge 


pledged 


pledg'st 


pledg'dst 


bridge 


bridged 


bridg'st 


bridg'dst 


grudge 


grudged 


grudg'st 


grudg'dst 


36. ch 


cht 


chst 


chtst 


stretch 


stretched 


stretch 'st 


stretch'dst 


match 


matched 


match'st 


match'dst 


pitch 


pitched 


pitch'st 


pitch'dst 


touch 


touched 


touch 'st 


touch'dst 


37. rch 


rcht 


rchst 


rchtst 


search 


searched 


search'st 


search'dst 


lurch 


lurched 


lurch 'st 


lurch'dst 


march 


marched 


march'st 


march'dst 


perch 


perched 


perch'st 


perch'dst 



136 ADVANCED ELOCUTION 

SYLLABICATION 

" Point thy tongue on the anvil of truth."— Pindar. 

A syllable is a word or part of a word uttered with a 
single impulse of the voice. 

A monosyllable is a word of one syllable, a dissyllable 
of two syllables, a trisyllable of three syllables, a polysyl- 
lable is a word of four or more syllables. 

The last syllable of a word is called the ultimate ; the 
next to the last, the penult ; and the third and fourth from 
the end are called respectively the antepenult and pre- 
antepenult. 

Many words that are written as monosyllables are pro- 
nounced as dissyllables. This arises from the fact that the 
sounds which necessitate the two vocal impulses will not 
combine with sufficient closeness to permit their utterance 
w T ith a single impulse. The words our, hour, sour, flour 
are spoken with two impulses as certainly, as cower, dower, 
tower, flower. The words chasm, spasm, prism, have as many 
vocal syllables as cousin, basin, prison. Even in such words 
as elm, helm, film, culm, in which the I and m unite much 
more closely, the uncultivated are apt to interpose a vowel 
in order to secure greater ease of utterance, hence we fre- 
quently hear these words pronounced, ellum, helium, etc. 

The uneducated, and even many among the cultivated 
classes of society, are apt to omit syllables that should be 
sounded. Ev'ry for every, hisHry for history, several for 
several, memory for memory, family for family, illustrate a 
class of errors that abound in nearly every community. 
While it is possible to find such extravagances of pronun- 
ciation as Dickens so happily caricatures in his u Martin 
Chuzzlewit,^ the opposite fault of slighting and omitting 
syllables is much more common. 



VERBAL EXPRESSION 137 

One of the most charming characteristics of instru- 
mental music is known as " delicacy of touch." Nothing 
so quickly marks the finished artist. To be able to strike 
each syllable of a word and each sound of every syllable 
with due force and give to it its proper character and 
quantity is as truly a token of cultivated speech as is the 
other of musical excellence. 

Words are divided into syllables for the purpose of 
showing either their pronunciation or their etymological 
composition. As more persons are interested in the pro- 
nunciation of words than in their derivation, the syllabi- 
cation as found in most dictionaries is based upon the 
orthoepical principle. 

Every sounded vowel marks a syllable. A word will 
have at least as many syllables as it has vowel sounds. 
In-di-vid-u-al-i-ty has seven sounded vowels, and it has, 
therefore, seven syllables. 

The vowels e and i are sometimes silent, leaving the 
consonants of the written syllable to represent the spoken 
syllable ; as e-v?l, bri-dl, bas 7 n, cousin, giv hi. A word 
may, therefore, have more syllables than it has vowels 
sounded. 

Orthoepists differ in opinion concerning the number of 
syllables in certain classes of words. The vowels e and i 
are, by some authorities, made silent or they are blended 
with other vowels. By other authorities they are given 
separate sounds. Some pronounce such words as glacial, 
series, sentient* hygiene, tedious, trivial, junior, with three 
syllables, others pronounce them w r ith two. 

The close relationship existing between i and y is shown 
in the words tedious, trivial, junior. When pronounced 
with two syllables the i changes to y, forming the spoken 
words ted-yus, triv-yal, jun-yor. 

In such words as glacial, series, sentient, hygiene, wdien 
pronounced with two syllables, the i becomes silent. 



138 ADVANCED ELOCUTION 



ACCENT 



In the English language every word of more than one 
syllable is pronounced with a stress of voice, called accent, 
upon one of its syllables. In words of three or more syl- 
lables there are usually two accents, one light and the other 
stronger. The greater stress is called the primary accent ; 
the lighter, the secondary. In words of six or more syllables 
there are often found three accents, one strong and the 
others light. Orthoepists generally mark the two light ac- 
cents alike and call both secondary. The acute ear will dis- 
cover that there is frequently a difference in the degree of 
stress or force with which the syllables of lighter accent are 
struck, so that we would be justified in designating the 
accented syllables as primary, secondary, and tertiary, and 
in giving each a distinctive mark. 

These accents exert considerable influence upon the 
vocal sounds. In monosyllables and in accented sylla- 
bles the vowels are uttered with distinctness; in un- 
accented syllables they are often more or less obscured. 

The character of the sentiment has also much to do in 
determining the sharpness or the obscurity of the vowel 
sounds. In colloquial language they are not only ob- 
scured, but often lean toward sounds of easier utterance ; 
in the more dignified forms of discourse the sharpness of 
both vowel and consonant sounds is more fully preserved. 
" Those who wish to pronounce elegantly," as Walker 
truly remarks, " must be particularly attentive to the 
unaccented vowels, as a neat pronunciation of these forms 
one of the greatest beauties of speaking." 

Nouns of two syllables generally take the accent upon 
the first; as, almond, bellows, brigand, caisson, currant, 
dahlia, decade, expert, falcon, frontier, sachem, orchid, squalor, 
strata, truffle. 

The ordinary reader or speaker, though ignorant of the 



VERBAL EXPRESSION 139 

above and other general laws of accent, instinctively obeys 
them. When, therefore, he meets with an exception to 
the rule, unless he is very familiar with the true pronun- 
ciation of the word, he is almost certain to mispronounce 
it. For this reason the exceptions are more important for 
study than the words falling under the rule. Examples : 
address, adept, adult, allies, annex, ascent, bouquet, cabcd, con- 
tour, divan, excess, research, resource, morass, recess, romance, 
compeer, finance, recourse, routine, grimace, melee, mustache, 
pretence, pretext, surtout. 

Adjectives of two syllables, like nouns, take the accent 
upon the first ; as, currish, diverse, extant, jocund, pieplant. 
Exceptions : canine, expert, robust, verbose, condign, occult, 
prolix, jocose, rotund, saline, supine. 

Verbs of two syllables take the accent upon the second ; 
as, amass, digest, erase, suffice, surname, ferment, purloin. 
Exceptions : construe, donate, sojourn, preface, ransack, com- 
ment, gyrate, harass, locate, vacate. 

In words of three or more syllables, the place of most 
frequent accent seems to be upon the antepenult. This is 
called by Walker the favorite accent of the language. 
Examples: dogmatist, duplicate, earnestness, elliptical, econo- 
mist, exterminate, simultaneous, ammoniacal, homoeopathy, 
hypochondria, idiosyncrasy, dicotyledonous, impracticability, 
monocotyledonous, valetudinarian, incommensurability, unintel- 
ligibility. 

The exceptions to this rule are many and various. 
Words ending in tion, cion, sion, usually take the accent 
upon the penult ; as, attraction, interjection, coercion, compre- 
hension, multiplication, personification. 

Many words of classical origin retain the original accent ; 
as, acu/men, abdo f men, lyce'um, muse'um, bitu'men, hori'zon, 
sonor'ous, deco'rum, athense'urn, mausole'um, parago'ge. 

Many derivatives retain the accent of the words from 
which they are derived. From censure w e have cemur- 



140 



ADVANCED ELOCUTION 



ing, censurable; from contribute we have contributor, con- 
tributory. To this rule we also find many exceptions. 
The above rule for terminations in tion always supersedes 
the law of derivatives, hence we have contribution, confisca- 
tion. Such exceptions as the following are also very com- 
mon : chastisement, comparable, disputable, lamentable, impi- 
ously, irreparable. 

In many cases the accent seems to be quite arbitrary. 
In the following words it is very often misplaced : deficit, 
hospitable, formidable, con'tumely, despicable, nomenclature, 
peremptory, ex'emplary, con'tumoxy, or'thoepy, or'thoepist, 
obligatory, indisputable, indiS solubly , manumit', magazine/, 
acclUmated, defaVcate, inun'date, excuVpate, inquiry, expo'- 
nent, condo'lence, opponent. 



DISCRIMINATIVE ACCENT 

Accent is sometimes employed to discriminate between 
words of the same spelling, but with a difference in mean- 
ing or use. In accordance with the rule previously stated, 
the noun and adjective forms take the accent on the first 
syllable and the verb forms on the last. 



Noun 


Verb 


Noun 


Verb 


ab'stract 


abstract' 


des'ert 


desert' 


ac'cent 


accent' 


es'cort 


escort' 


affix 


affix' 


es'say 


essay' 


cem/ent 


cement' 


ex'port 


export' 


collect 


cojlect' 


ex'tract 


extract' 


com' pact 


compact' 


fer'ment 


ferment' 


con' tract 


contract' 


fore'east 


forecast' 


con'cert 


concert' 


im'port 


import' 


con'duct 


conduct' 


im'press 


impress' 


con'fine 


confine' 


in'cense 


incense' 


con'sort 


consort' 


in'sult 


insult' 


con'test 


contest' 


ob'ject 


object' 


con' vert 


convert' 


out'law 


outlaw' 



VERBAL EXPRESSION 



141 



Noun 


Verb 


Noun 


Verb 


per'fume 


perfume' 


trans'fer 


transfer' 


per'mit 


permit' 


trans'port 


transport' 


pre' fix 


prefix' 


guil'lotine 


guillotine' 


pres'ent 


present' 


quar'antine 


quarantine' 


pro'test 


protest' 






reb'el 


rebel' 


Adjective 


Verb 


rec'ord 


record' 


ab'ject 


abject' 


refuse 


refuse' 


ab'sent 


absent' 


sub'ject 


subject' 


fre'quent 


frequent' 


sur'vey 


survey' 


pres'ent 


present' 


tor'ment 


torment' 


com'pound 


compound' 



ANTITHETICAL ACCENT 

When the accent is transferred from the syllable upon 
which it properly belongs, to another syllable, in order to 
show contrast of thought, it is called antithetical or rhetor- 
ical accent. All literature abounds in these antitheses, so 
that the reader of even ordinary ability instinctively 
adapts himself to the change of accent. Examples : He 
must in'crease but I must de'crease. Pardon our sins of 
o'mission as well as of com'mission. This corrupt'ible must 
put on in'corruption, and this mor'tal must put on im'- 
mortality. 

INFLUENCE OF ACCENT ON THE VOWEL SOUNDS 

1. Obscure a. — The vowel a, when it forms or terminates 
an unaccented syllable has the sound of obscure a; as in 
a-mong, bi-na-ry, i-de-a. When the a is followed by an 
accented vowel it takes a shortened form of long a ; as in 
d-e'-ri-al, cha-ot'ic. When h follows a in a final unaccented 
syllable, the vowel takes the sound of obscure a ; as in Je~ 
ho-vah, Mes-si-ah, 

2. ar. — In the unaccented terminal syllables ar and ard 
the vowel has the sound of Italian a y slightly obscured. 



142 ADVANCED ELOCUTION 

Some orthoepists give these terminations the sound of ur 
and urdj but this places a premium upon slovenliness of 
pronunciation. The Italian a is easily preserved, and 
when lightly, yet distinctly, uttered, will not offend the 
most fastidious ear. Examples : liar, cellar, pillar , collar, 
dollar, scholar, solar, polar, lunar, regular, circular, popular, 
particular, niggard, sluggard, tankard, drunkard-, dullard, 
spikenard, leopard, dotard, dastard, leeward, homeward, stew- 
ard, backward, awkward, coward, froward, upward, down- 
ward, forward, vineyard, hazard, lizard, wizard, 

3. ate. — In the unaccented final syllable ate, the vowel 
takes the sound of long a. In verbs of this termination 
the sharpness of the vowel is fully preserved ; as in vacate, 
dedicate, calculate, articulate. In nouns and adjectives the 
long a is more obscure ; as certificate, duplicate, advocate, man- 
date, agate, frigate, surrogate, opiate, articulate, licentiate, pre- 
late, chocolate, pirate, primate, delicate, intricate, roseate, deso- 
late, ultimate, intimate, fortunate. 

The distinction between the sharper and the more ob- 
scure forms of long a is brought out most clearly in the 
use of the same word ; as in articulate (adjective), articu- 
late (verb), separate (adjective), separate (verb). 

It will be observed, too, that the most obscure form of 
this unaccented termination occurs in nouns and adjec- 
tives of two syllables ; as in climate, legate, private. This is 
due to the fact that the syllable of greatest stress is usually 
followed by that having least stress. In words of more 
than two S3^11ables the primary accent frequently occurs 
on the antepenult or pre-antepenult, so that by the time 
the terminal syllable is reached, there is a gain in stress 
almost or quite equal to a secondary accent. 

The degree of the stress largely determines the sharp- 
ness or obscurity of the vowel. In the terminal syllable 
of the words calculate, advocate, duplicate, delicate, chocolate, 
private, the a represents a series of fine gradations of 



VERBAL EXPRESSION 143 

sound, apparent to every acute ear. To assign a separate 
symbol to each of these would greatly mystify the average 
student, and would so complicate the table of sounds as to 
impair its utility. Many orthoepists have been perplexed 
by these obscure vowels, and have adopted various expe- 
dients to meet the difficulty. The simplest, and perhaps 
the best method of disposing of the problem is to make 
the pronunciation conform as nearly as possible to the 
orthography, uttering the vowel sound w r ith that degree of 
lightness which the absence of the accent demands. This 
will preserve the long a in the unaccented terminal syl- 
lable ate, as in the words just named. It will preserve 
the Italian a in such words as dollar, nectar, pillar ; it will 
preserve the coalescent e in such words as mutter, tapir, 
nadir, martyr; it will preserve the coalescent o in actor, 
victor, captor ; and give to coalescent u only such words as 
sulphur, murmur. 

4. e. — The letter e has the same sound in unaccented 
syllables that it has when under the accent. When it 
forms or terminates an unaccented syllable it has the 
sound of long e, given with a shortened quantity and with 
a light, }^et distinct stroke. This sound and that of unac- ' 
cented short i afford the finest opportunity for the exercise 
of that " delicacy of touch," w^hich marks the cultured 
reader or speaker. Never suffer long e to degenerate into 
short u, in such words as elegant, appetite, elegy, enemy, so- 
ciety, genesis, antecedent, Cicero, vertebrate. 

The sound of short i is sometimes incorrectly substituted 
for short e in such words as wicked, riches, basket, honest. In 
French words as e-lite, me-lee, de-but, de-bris, re-gime, pro- 
te-ge the e takes the sound of long a. 

The unaccented er should not change to ur in such words 
as robber, suffer, offer, barber, hatter, vesper, aster, either, 
neither. 

5. i. — Unaccented i, when it forms or terminates a 



144 ADVANCED ELOCUTION 

syllable, takes the sound of short i, as in dif-fi-dent, wit-ti-ly, 
hap-pi-ly, pret-ti-ly, mer-ri-ly, I-tal-ian, in-el-i-gi-ble, un-in- 
tel-U-gi-bil-i-ty, in-di-vis-i-bil-i-ty. To this rule there are 
many exceptions. 

Webster says, " The i is usually long in the initial syl- 
lables i, bi, chi, cli, cri, pri, triP To the first of these there 
are few if any exceptions other than iguana, Italian, italicize, 
and their derivatives. To the second there are no ex- 
ceptions among words in ordinary use other than bi-tuf- 
men and its derivatives, bl-tu' '-min-ous, bi-tu' -min-ate, etc. 
The word biography is often incorrectly pronounced with 
short i or long e in the initial syllable. 

The initial syllable chi is sounded like hi in all words 
in which r begins the second syllable, as in ch'rog'raphy, 
chlroVogy, chiromancy, ch'ron'omy, chirop'odist, and their 
derivatives. The initial syllable cli has but few exceptions, 
the most important of which are climacteric (or climac'- 
teric), clmiacter'ical, clinometer ic. The syllable cri conforms 
very closely to the rule, as in cnnoid'al, crinoid' ean, crite- 
rion, crinig f erous, cnnose'. The word critique is an exception. 

The initial syllable pri has few if any exceptions, but is 
oftener mispronounced than most of the others. The sound 
of long i should be preserved in primacy, primate, primeval, 
primogeniture, primordial. In accordance with the rule, 
the sound of long i should be preserved in triassic, tribunal, 
tricennial, trident' ate, triennial, tri'fid, trifur'cate, trigram'mic, 
trig yn' la, trilemfma, trilobate (or tri'lobate), tri'lobite, trilobit'ic, 
tri'meran, trimes'ter, trimet'rical, trinerv f ate, trinbd'al, trio, 
tripartient, triphyVlous (or Mph f yllous), triplicity, trisperm'- 
ous, triter f nate, triumphant, trium'vir. In a few of the above 
words the accent falls upon the initial syllable, which in 
itself, would tend to preserve the long i sound. The i of 
the initial syllable of the following words is short : tri- 
syllable, trichi'na, triehino'sis, trifugous (or trlju' gous) , tris- 
planchnic, trigynous. 






VERBAL EXPRESSION 145 

The unaccented terminal i of other initial syllables is 
often incorrectly sounded. In accordance with the general 
rule, it should be short, unless there is some special reason 
to the contrary. The following and their derivatives re- 
quire short i: didactic, didactyl, digest (verb) r digress, di- 
gression, dilapidate, dilate, dilemma, dilute, dilution, diluvial, 
dimension, diminish, diploma, direct, directly, divan, diverge, 
divert, divert, divine, divulge, divide, fidelity, finance, financial, 
financier, hilarity, minute (adjective), miraculous, piano, 
piazza, pilaster, tirade, virago, vituperate, vivacious. 

The following, contrary to the general rule, require long 
i: divaricate, sinecure, siren, tiny, dioptrics, diurnal, diaeresis, 
diocesan. 

6. o. — The letter o, when it forms or terminates an un- 
accented syllable has its regular long o sound, often 
shortened by the omission of the oo vanish, as in hero, 
motto, crocodile, syllogism, volcano. 

7. u. — The letter u, when it forms or terminates an un- 
accented syllable takes its regular long u sound, frequently 
modified by its surroundings. "When it forms a syllable 
and the preceding syllable ends with r, as in er-v.-di-tion, 
vir-u-lent, orthoepists differ concerning the vowel sound. 
The r is too potential to suffer its influence to be bounded 
by a syllable or stayed by a hyphen. It is safe, therefore, 
to assume that the vowel sound should be long oo, just as 
in rude, brute, crude, in which r precedes u in the same syl- 
lable. 

8. y. — The letter y, when a vowel, takes the sound of ■?', 
and is subject to all the laws governing that letter. When 
it forms or terminates an unaccented syllable, it becomes 
short i, as in a-nal'-y-sis, syn-on f -y-my, a-poc f -ry-pha, ap'-a-thy, 
pit'-y. In the unaccented final syllable/?/ of verbs it has 
the sound of long i; as in gratify, testify, ratify. In other 
terminal syllables of verbs it also takes the sound of long i ; 
as in multiply, occupy, prophesy. It will be observed that, 

10 



146 ADVANCED ELOCUTION 

although the dictionaries place no accent upon the ter- 
minal syllables in the above verbs, yet they actually 
possess a strongly marked secondary accent. 

9. ei. — The unaccented vowel digraph ei has the sound 
of short i ; as in foreign, mullein, forfeit, surfeit. 

10. ey . — The unaccented vowel digraph ey has the sound 
of short i ; as in alley, galley, valley, honey, money, journey. 
The noun survey is an exception to this rule. 

11. ie. — In the plurals of nouns ending in y preceded 
by a consonant, and also in the third person singular, 
present tense, and in the past tense and past participle of 
most verbs that end in y, preceded by a consonant, the 
unaccented vowel digraph ie has the sound of short i ; as in 
treaties, cities, qualities, carries, hurries, worries, married, 
buried, palsied. But in the third person singular present 
tense, and also in past tense and past participle of verbs 
ending in fy, and of the verbs multiply, occupy, prophesy, 
this digraph has the sound of long i. 

12. ou. — The vowel digraph cm in the unaccented final 
syllable ous has the sound of short u ; as in anxious x zealous, 
famous, ruinous. 

Guard against the fault cf inserting an additional syl- 
lable in such words as tremendous, stupendous, mountainous, 
pronouncing them tre-men'-di-ous (or tre-men-jiis), stu-pen'- 
di-ous, moun-tain f -i-ous. Even where the vowels e and i are 
prefixed to the terminative ous, thus seeming to justify the 
additional syllable, the e or i is suppressed in pronun- 
ciation. Examples : herbaceous, outra'geous, courageous, 
spa'cious, gra'cious, saga'cious, vexa'tious, conta 'gious, re- 
ligious. 

13. ow. — The vowel digraph ow, in an unaccented final 
syllable, takes the sound of long o, without the vanish ; as 
in narrow, meadow, fellow, window, borrow, sorrow, furrow. 
Guard carefully against the common faulty pronunciation, 
narruh, meaduh, felluh, etc. 



VERBAL EXPRESSION 147 

UNACCENTED TERMINAL SYLLABLES 

1. The organs of articulation should be trained to strike 
the vowels in unaccented syllables with accuracy and 
ease, but with that inferior emphasis which should always 
distinguish the unaccented from the accented vowels. The 
consonants should also be neatly and properly struck, 
with a degree of force proportioned to the stress required 
upon the syllable. 

2. al. — In such words as cymbal, verbal, medical, magical, 
logical, comical, typical, physical, practical, recital, ornamental, 
pentecostal, sacerdotal, preserve the sound of short a slightly 
obscured. Do not suffer the a to become a silent letter, as 
in cymVl, verbal, nor allow it to be changed to short u, as in 
cymbul, verbid. Make a proper distinction between the 
words medal, meddle ; metal, mettle ; pedal, peddle ; bridal, 
bridle; dual, duel ; radical, radicle ; capital, capitol. 

3. as. — In such words as pancreas, boreas, bias, alias, 
capias, atlas, Christmas, copperas, the vowel in the terminal 
syllable takes the sound of short a, verging slightly toward 
short u. 

4. ain. — Many words ending in unaccented ain are mis- 
pronounced. The vowel is short i, sharply defined but 
lightly uttered. Examples: villain, chaplain, chamberlain, 
murrain, chieftain, plantain, fountain, mountain, captain, cer- 
tain, curtain. A few exceptions occur. The words chil- 
blain and cordwain require long a. Authorities differ 
greatly in the pronunciation of porcelain. Some give it 
three syllables ; others two. A few give the vowel in the 
terminal syllable the sound of short i, in accordance with 
the rule, but the larger number preserve the sound of 
long a. Usage is also divided on the word quatrain, the 
weight of authority being in favor of long a, while some 
excellent authorities prefer short i. 

The nautical terms boatswain and cockswain, in dignified 



148 ADVANCED ELOCUTION 

discourse, should be pronounced with long a; but collo- 
quially and in the language of the sailor they are usually 
pronounced bo'sn and cock'sn. 

5. any. — The termination any is the subject of much 
dispute among orthoepists. In words like miscellany, 
chatellany, castellany, the primary accent usually falls 
upon the pre-antepenult, or earlier, so that when the a of 
this termination is reached, the stress upon this syllable 
justifies the use of long a. Some orthoepists, however, 
regard the n of the last syllable as having an influence 
upon the a, which, in their estimation, justifies the use of 
short e as the proper sound for the penult. The words 
any and many are the only ones that should be sounded 
with short e. 

In words of three syllables, like company, litany, botany, 
the a either terminates or forms an unaccented syllable, 
and should have the sound of obscure a in accordance with 
the rule. 

6. ary. — In words of four or more syllables ending in 
ary, like lapidary, legendary, subsidiary, vocabulary, extra- 
ordinary, valetudinary, disciplinary, the secondary accent, 
which usually falls upon the penult, gives a long quantity 
to the vowal a; but the r, the most potent of all the con- 
sonants, reaches back to the preceding vowel, and changes 
what would otherwise have been long a to coalescent a. 
The orthographic division of the syllables places the r 
in the ultimate, but the orthoepic syllabication refers it 
to the penult. 

Most words of three syllables ending in ary take the 
accent on the first, as diary, salary, primary, summary. 
This makes the a to form or terminate the unaccented 
syllable, hence it takes the sound of obscure a. The words 
canary, vagary, univary are exceptions. 

In the polysyllables peniten'tiary, infirm' ary, anniver- 
sary, parliament' ary, testamentary, elementary, supplement'* 






VERBAL EXPRESSION 



149 



wry, the primary accent falls upon the antepenult, which 
gives to the vowel in the penult the sound of obscure a, as 
in the trisyllables before referred to. 

Following the general rule that a vowel forming or ter- 
minating an accented syllable is long, the orthoepists and 
lexicographers mark such words as vary, wary, Mary, 
ciliary, vagary, with long a in the penult. It is a question 
whether the softer form of coalescent a would not be better. 
The latter sound is not only much more agreeable to the 
ear, but it is also used in the above and similar words by 
a great many cultivated people. 

7. el. — In the unaccented terminal syllable el the e is 
generally sounded ; as in : 



angel 


damsel 


model 


timbrel 


barbel 


duel 


mongrel 


tinsel 


barrel 


fardel 


morsel 


towel 


bowel 


flannel 


newel 


trammel 


brothel 


fuel 


nickel 


travel 


bushel 


funnel 


novel 


trowel 


camel 


gavel 


panel 


tunnel 


cancel 


gospel 


parcel 


vessel 


cartel 


gravel 


pommel 


vowel 


carvel 


gruel 


quarrel 


apparel 


chancel 


hovel 


rebel 


asphodel 


channel 


jewel 


revel 


calomel 


chapel 


kennel 


rowel 


caravel 


charnel 


kernel 


satchel 


citadel 


chisel 


label 


scalpel 


doggerel 


corbel 


laurel 


scoundrel 


enamel 


counsel 


level 


sequel 


infidel 


crewel 


libel 


sorrel 


mackerel 


cruel 


lintel 


squirrel 


philomel 


cudgel 


marvel 


tassel 


sentinel 



In the following words the e of the el termination is 



150 ADVANCED ELOCUTION 

not sounded : bevel, betel, chattel, drazel, drivel, dishevel, easel , 
grovel, hazel, mantel, mussel, mispickel, mangel-wurzel, ouzel, 
ravel, rivet, scovel, shekel, shovel, shrivel, snivel, sivingel, sivivel, 
teasel, toggel, toivsel. The el termination of these words is, 
therefore, sounded like the le termination of beetle, mantle, 
muscle, mangle. 

8. en. — Such forms of pronunciation as are unusual or 
out of the regular order are much more frequently vio- 
lated than those that are easy and follow the beaten track. 
The words that fall under the above rule for the el ter- 
mination are, therefore, more important to the student 
than those that come under the exceptions. It requires 
somewhat more care and effort to say an-gel or vessel than 
to say an-g'l or vessel and hence the words which require 
the sounding of the e are very often mispronounced. 

The rule for the en termination requires the suppres- 
sion of the e, and is, therefore, just the opposite of that 
for el. So few persons mistake the pronunciation of the 
words falling under the rule, and so many are at fault in 
respect to the exceptions, that it is necessary to emphasize 
the importance of drill and study upon the latter. Under 
the rule we have such words as golden, garden, burden, 
heathen, blacken, spoken, broken, and many others. The 
words often, soften, fasten, hasten, chasten, listen, glisten, 
moisten, christen, suppress both t and e, and must be pro- 
nounced ofn, sofn, etc. 

The exceptions to this rule consist of words ending in 
unaccented en, preceded by the liquids I, m, n, r. Under 
I we have pollen, sullen, woollen, but the common words 
fallen, stolen, swollen suppress the e, and come under the 
general rule. 

Under m we have flamen, hymen, omen, women, and the 
trisyllables abdomen, acumen, bitumen, cerumen, legumen, 
regimen, specimen, and the polysyllable catechumen. Under 
n we have linen and under r the words barren, siren, warren. 






VERBAL EXPRESSION 151 

There are a few scattering words that retain the e, 
and that cannot be grouped under any head. The more 
common are aspen, chicim, Eden, hyphen, kitchen, lichen, 
marten. Some admit of two pronunciations, one sounding 
the e, the other suppressing it; as, mitten, sloven, sudden. 
The following are of rare occurrence: bounden, jerken, 
batten, myncJien, piten, patten, platen, raven, ticken, wicken, 
yewen. 

9. ery. — When the e takes the secondary accent it is 
short; as in monastery, dysentery, presbytery. When the 
primary accent falls on the antepenult the e is coalescent; 
as in mastery, livery, lottery, discovery, flowery. 

10. il. — Words ending in unaccented il sound the i. 
These words, like those ending in el and the exceptions in 
en, are. by many readers and speakers, often incorrectly 
pronounced. A diligent practice upon the following 
words will therefore be profitable : anvil, cavil, civil, council, 
fossil, fusil, pencil, peril, pupil, lentil, vigil. When two con- 
sonant sounds precede the il in the same syllable, and in 
words of three or more syllables, the short i sound is less 
liable to be slighted or omitted; as in April, nostril, tendril, 
tranquil, codicil, utensil. In the three words, evil, weevil, 
devil, the i is silent. 

11. in. — The sound of short i should be carefully pre- 
served in cabin, bobbin, robin, griffin, coffin, muffin, virgin, 
urchin, dolphin, welkin, gherkin, firkin, goblin, javelin, muslin, 
pippin, florin, resin, rosin, latin, matin, satin, spavin, ruin. 
The words raisin, basin, cousin, ravin suppress the i in the 
terminal syllable. 

12. ide. — Among the most uncertain and unsatisfactory 
subjects in the realm of orthoepy are the terminations ide, 
He, ine, and tie. In most monosyllables and accented syl- 
lables the silent e in such a situation reaches back over 
the intervening consonant, and makes the i long ; as in 
wide, file, pine, site. But in unaccented syllables and in 



152 ADVANCED ELOCUTION 

those having a secondary accent there is but little to guide 
us in determining whether the vowel sound is long i, or 
short i. To increase the difficulty the dictionaries and 
orthoepists are themselves greatly at variance. 

The chemical terms bromide, chloride, iodide, oxide, sul- 
phide, should be pronounced with short i. While author- 
ity may be found for pronouncing them or some of them 
with long i, the tendancy is toward short i, and uniformity 
of usage is thereby secured. To pronounce some of them 
with long i and others with short i only increases the con- 
fusion and uncertainty already existing. Where uni- 
formity and simplicity of pronunciation can be secured 
without a violation of the forms sanctioned by the best 
authorities, there should be a willingness on the part of 
readers and speakers to conform to such usage, even at 
the sacrifice of a preferred form of pronunciation. 

13. ile. — Accent on the penult tends to make the i in 
the terminal syllable ile short; as in agile, fragile, facile, 
docile, subtile, reptile, fertile, hostile, futile, servile, sterile, pro- 
jectile, bissextile. To this rule there are a few exceptions; 
as in ed'de, exile, gentile. 

When the primary accent falls upon the antepenult 
there is a gain of stress by the time the ultimate is 
reached that is almost or quite equal to a secondary ac- 
cent. This tends to make the i in the terminal syllable 
long; as in reconcile, crocodile, chamomile, eolipile, infantile 
(or -til). To this rule there are some exceptions ; as in 
imbecile, juvenile, versatile, mercantile, in which the i is short 

14. ine. — The pronunciation of this terminal syllable is 
the most irregular, uncertain, and unsatisfactory of all. 
The influence of accent, according to the previous note, 
should make the i short in the ine termination of dissyllables 
whose accent falls on the first syllable. The following 
words conform to that rule, although some of them are 
often mispronounced: benJzine, bro'mine, chlorine, corvine, 



VERBAL EXPRESSION 153 

citrine, destine, doctrine, engine, ermine, famine, jasmine, mar- 
line, lupine (or I), uwrjihiiie, myrrhine, pristine, rapine, san- 
guine, turbine, vulpine. But the following require longi: 
bovine, carbine, carmine, cervine, co-sine, errhine, feline, out- 
line, quinine, strychnine (or -nine), vaccine (or -cine). Even 
those dissyllables that take the accent on the ultimate are 
often mispronounced either by misplacing the accent or 
changing the vowel in the last syllable to long e. The fol- 
lowing should be pronounced as marked : calcine', canine', 
saline' , supine' , trephine' (or -ene). 

The following trisyllables and polysyllables also require 
long i: asinine, aquiline, brigandine, brigantine (or -tin), 
calcimine, cannabine, capitoline, celandine, columbine, concu- 
bine, crystalline, eglantine (or -tin), infantine (or -tin), 
intcrne'eine, leonine, metcdline, muscadine, porcupine, saccha- 
rine (or -rrn), saturnine, serpentine, sibylline, superfine, syca- 
mine, turpentine, valentine. The following proper adjectives 
and nouns, often mispronounced, also take long i : Appe- 
nine, Argentine, Palestine, Palatine, Alpine (or -jJin), Aldine 
(or -din), Byz'antine (or By-zan'tVne), Clementine (or -tin), 
Florentine (or -tin), Lev'antine (or Le-van'iine). 

Many words of three or more syllables require short i. 
The following take the accent on the penult : adamantine, 
Alexandrine, amaranthine, Augustine, clandestine, determine, 
examine, elephantine, hyacinthine, Euxine, illumine, imagine, 
intestine, predestine. These also require short i, and take 
the accent upon the antepenult : alkaline (or -line), celestine, 
coralline, discipline, feminine, gelatine, genuine, heroine, iodine 
(or -dine), Jacobine, jessamine, libertine, masculine, medicine, 
nectarine^ nicotine, palatine, paraffine, vespertine, Philippine, 
Tripoline, tourmaline. 

In a comparatively few words the i of the ine termina- 
tion takes the sound of long e. The following are the most 
important: machine, marine, ravine, routine, sabine , sar'dine 
(or -din), bombazine, gabardine, guillotine, magazine, quaran- 



154 ADVANCED ELOCUTION 

tine, submarine. Guard carefully against sounding the i 
like long e in the following : ben'zine, bro'mine, brigantlne 
{or -tin), eglantine (on -tin), calcine', carbine, morphine, nico- 
tine, paraffine, pristine, quinine, rapine, strychnine (or -nin), 
turbine, vac cine (or -tin). 

15. ite. — Less difficulty is encountered with this termi- 
nation than with any other of this group. Most of the 
common words require short i; as definite, exquisite, favorite, 
hypocrite, infinite, opposite, perquisite, requisite, respite. The 
exceptions, as expedite, parasite, recondite, which require 
long i, are so familiar as rarely to be mispronounced. 
Nearly all the medical and chemical terms, as aconite, sul- 
phite, require long i, as also do the terms in geology and 
mineralogy ; as albite, anthracite, andalu'site, apatite, bromite, 
chlorite, chondrodite, diorite, dolomite, graphite, hepatite, in'- 
dicolite, iolite, kyanite, lepid'olite, malachite, oolite, rubellite, 
scapolile, stalactite, stalagmite, syenite, zeolite. 

16. on. — When the unaccented terminal syllable ends 
in on the o leans toward short u, but in most cases it should 
be pronounced as short o; as in ribbon, cordon, dragon, gal- 
lon. 

When the o is preceded by c, ck, s, t, z, it is usually sup- 
pressed; as in bacon, beacon, deacon, falcon (faiv' Jen), beckon, 
reckon, reason, treason, season, mason, benison (-zn), venison 
(•zn) , poison, prison, garrison, damson (-zn), crimson (-zn), 
parson, person, lesson, cotton, button, glutton, mutton, blazon. 
To this rule there are some exceptions; as piston, lexicon, 
hori'zon, which sound the o. 

17. ort. — The o of the unaccented terminal syllable ort 
should be pronounced Avith coalescent o, tending slightly 
toward coalescent u; as in effort, comfort, but in such botan- 
ical terms as liverwort, spearwort, feverwort, milkwort, pipe- 
wort, and many others ending in wort, the terminal syllable 
is pronounced like wurt. 

18. ory. — In words ending in ory, if the accent falls on 



VERBAL EXPRESSION 155 

the antepenult, the vowel is long o, with a .short quantity, 
and tends slightly toward coalescent u ; as in theory, mem- 
ory, cursory, illusory, satisfactory. If the accent falls on the 
pre-antepenult, or earlier, there is such gain in stress by 
the time the o is reached as to amount almost or quite to 
a secondary accent, and the sharpness of the long o is much 
more fully preserved ; as in predatory, prefatory, obligatory, 
supererog'atory, sign if'icatory. 

19. ure. — This termination is somewhat uncertain. 
The more precise orthoepists require a well-preserved 
long u, slightly clipped, so as to make a close and smooth 
union with t, or d, or whatever consonant may precede. 
The more lenient and careless authorities permit almost 
any pronunciation that will suggest the meaning of the 
word, While we occasionally hear that pedantic and 
affected pronunciation which puts the t and d into the 
penult in such words as nature, verdure, often with a slight 
hiatus before the u, we much more frequently hear that 
coarse articulation which changes the t to eh, and the d to 
j, as in na'-chur, ver'-jur. With practice it is possible for 
the clumsiest tongue to form a close and easy union of 
the consonants t and d with the long u, slightly clipped, 
and thus to preserve a chaste and elegant pronunciation 
of that long list of words ending in ure. Practice upon 
the following words will tend to establish a correct habit 
in the use of this termination: verdure, figure, tenure, 
feature, creature, stature, fracture, lecture, picture, structure, 
culture, vulture, venture, capture, rapture, scripture, torture, 
pasture, gesture, moisture, posture, future, fixture, ligature, 
miniature, temperature, literature, legislature, agriculture, 
architecture, per ad venture, interm ixture. 

Those who would change long u into long oo after j, as 
in June, jurist, juniper, would also change the long u in 
such words as injure, perjure, into long or short oo, and 
some, perhaps, into cocdescent u. But long u may follow j 



156 ADVANCED ELOCUTION 

in monosyllables and accented syllables, and there is no 
good reason for changing it in the unaccented syllables 
above referred to. The absence of the accent will 
obscure the vowel slightly, and cause it to bend toward 
short oo. 

As long u cannot follow the sound of sh, or its cognate 
zh, the vowel sound in the we termination of such words 
is changed by some authorities to long oo, by others to 
short oo, and by still others to coalescent u. The best cur- 
rent usage is quite uniform in favor of shur and zhur as 
applied to the words in frequent use, and, for the sake of 
uniformity, the words less commonly used should follow 
the same law ; as censure, pressure, fissure, tonsure, pleasure, 
measure, treasure, leisure, closure, composure, exposure, erasure, 
seizure. 

20. tie. — In the termination tie following s, the t and e 
are both suppressed, leaving I to form the last syllable ; as 
in castle, nestle, pestle, trestle, ivrestle, thistle, whistle, epistle, 
bristle, gristle, jostle, apostle, bustle, hustle, rustle. 

PHONETIC ANALYSIS 

There is no exercise superior to that of phonetic analy- 
sis for securing correctness, as well as distinctness of pro- 
nunciation. The clearly defined enunciation of the- in- 
dividual sounds, the close and smooth union of these 
sounds in syllables with attention to the modifications of 
the sounds which such combination implies ; the proper 
division of the word into syllables ; the correct accent as 
applied to the several syllables of the word ; the due sub- 
ordination of the unaccented syllables, all combine to 
render the subject of phonetic analysis the most important 
in the whole realm of orthoepy. 

In the class-room it will also be found very helpful as a 
means of enabling the teacher to test the pupils' knowl- 



VERBAL EXPRESSION 157 

ed<re of pronunciation. To hear each member of a class 
of forty or fifty pupils pronounce a list of thirty words 
would involve much more time than is commonly as- 
signed to a single recitation ; but a class of a hundred or 
more persons could write the analysis of that number of 
words, compare them with the teacher's analysis on the 
blackboard and report the result, all within an hour. 

A wide experience in the work of orthoepy leads the 
writer to conclude that, notwithstanding the noble efforts 
that are being put forth in the elementary schools, many 
persons have a very limited knowledge of the elements 
of spoken language. The work of phonetic analysis, as 
set forth in this volume, will, therefore, begin with the 
very first steps, and gradually lead to the more advanced 
work. If the pupils already have some knowledge of the 
work, the first eight or ten exercises may be taken hur- 
riedly or be entirely omitted, as the teacher may deter- 
mine. 

SUGGESTIONS. 

1. Prolong each word in the following exercise, and listen care- 
fully to the sounds made in its utterance. 

2. Make the prolonged sounds of equal length so far as possible. 

3. Xote that the sounds in the syllables no and lo have vocality, 
and that the first element in the syllables so and Jto is merely 
breath unvocalized. 

4. Ear training is the important thing at this stage of the work. 
The teacher should, therefore, ask only such questions and make 
such suggestions as will stimulate interest and inquiry, but should 
not confuse the mind of the pupil with a multiplicity of details. 







ilXERCISE 1 






no 


man 


sun 


net 


map 


lo 


fan 


fun 


let 


lap 


so 


men 


sin 


sip 


met 


ho 


fen 


fin 


up 


set 



5. The explosive aspirates t and p cannot be prolonged, but they 
should be neatly struck. 



158 



ADVANCED ELOCUTION 



6. The short e and short i in the previous exercise should be held 
firmly, and not suffered to slide into long a and long e. 

7. To inspire confidence, the first three or four exercises may be 
first spelled by the class in concert, but this should be followed 
in the same lesson by individual work. With children who have 
had no instruction in word analysis it is better, in the first eight 
or ten exercises, to limit the work to the analysis for sound, and 
afterward review with instruction in the application and use of 
the diacritical marks. With adult students and with children 
who have had previous instruction in sound analysis, the use of 
diacritical notation may begin with the first exercise and continue 
regularly throughout. 







Exercise 2 






lad 


beg 


bid 


band 


bold 


mad 


get 


din 


snug 


dust 


sad 


keg 


not 


glad 


yelp 


pad 


wed 


win 


jest 


wend 



8. The above exercise introduces several new elements, includ- 
ing the difficult sounds of b, d, and g. Strive to secure a strong, 
firm, vocalized sound of these three letters, being careful to avoid 
the very common error of beginning or ending the sounds with 
an obscure form of short u. 

9. Except k, p, and t, prolong the sounds, as before, giving as 
much quantity as possible to b, d, and g. 







Exercise 3 






cash 


both 


when 


marsh 


midst 


shun 


thin 


whelp 


charm 


thump 


bench 


blush 


smash 


trench 


bunch 


child 


shrub 


tramp 


chest 


thrash 



10. Call attention to the aspirate digraphs, sh, ch, th, and wh 9 
and explain how certain sounds require two letters to represent 
them. 

11. The letter r has a trilled sound before a vowel as in shrub, 
tramp, trench, thrash, but is smooth after the vowel, as in marsh, 
charm. Drill upon the two forms until the distinction is not only 
clearly understood but also easily made. Such words as begin 



VERBAL EXPRESSION 159 

With thr, as thread, three, thrice, thrill, etc., have been found helpful 
ir getting the trilled r. 







Exercise 4 






toil 


found 


sing 


than 


bide 


spoil 


bound 


fling 


them 


dine 


broil 


ground 


song 


thus 


note 


soil 


south 


swung 


that 


wine 



12. Call attention to the vowel digraphs (diphthongs) oi and ou 
in the first and second columns ; and to the consonant digraph ng 
in the third. The ng is a simple elemementary sound and must 
not end with a g sound. 

13. Note the difference between the vocal th of the fourth col- 
umn, and the aspirate th in the third exercise. 

14. Note the silent terminal e in the fifth column and its influ- 
ence upon the preceding vowel of the same word. Compare these 
words with those of the third column in Exercise 2. 





1 


EXERCISE 






seek 


moon 


wall 


fare 


far 


weed 


rood 


hall 


pare 


par 


spleen 


spool 


yawl 


care 


car 


green 


doom 


pawn 


tare 


tar 



15. Note the vowel digraphs ee and oo ; the influence of 11 upon 
a; the influence of silent w upon a; and of silent e upon the pre- 
ceding vowel in the fourth column. Compare columns four and 
five. 







Exercise 6 






feat 


cull 


shown 


daunt 


earth 


great 


full 


drown 


pause 


hearth 


bear 


rush 


grown 


said 


road 


fear 


bush 


brown 


braid 


broad 



16. Xote how ea in the first and fifth columns represents five 
different sounds ; how u in full and bush represents short oo ; how 
ow, au, ai, and oa, in the third, fourth, and fifth columns repre- 



160 



ADVANCED ELOCUTION 



sent various sounds. State which are the usual and which the 
exceptional sounds, and illustrate by the use of additional words. 







EXEKCISE 7 






sail 


deign 


brief 


guide 


soul 


plaid 


seize 


friend 


build 


rout 


said 


eight 


died 


suit 


route 


aisle 


sleight 


sieve 


suite 


would 



17. Beginning with the above, the exercises may profitably be 
used for oral pronunciation as well as for written analysis. 







Exercise 8 






quaff 


brass 


last 


clasp 


prance 


staff 


mass 


mast 


gasp 


trance 


craft 


pass 


past 


grasp 


ant 


draft 


lass 


cast 


rasp 


chant 


graft 


grass 


ask 


chance 


grant 


haft 


glass 


bask 


dance 


pant 


raft 


fast 


cask 


lance 


blanch 


shaft 


blast 


task 


glance 


branch 



18. In districts where the use of intermediate a is not current, 
practice upon the above list should be repeated until every pupil 
can strike the vowel sound with accuracy and confidence, and, if 
possible, until he has learned to use it unconsciously in his reading 
and conversation. Refer to the rule governing the use of inter- 
mediated, page 101. 







Exercise 9 






balm 


calf 


bath 


first 


burst 


palm 


half 


path 


serge 


surge 


calm 


aunt 


laugh 


earn 


urn 


psalm 


daunt 


launch 


pearl 


purl 



19. In all the written analyses after the third exercise the words 
should be rewritten by the pupil, omitting all silent letters, and 
making the necessary substitution of the letters in order to secure 



VERBAL EXPRESSION 



101 



the best representative characters for the several sounds. For 
how use on, unci not otv ; for gem use j, and not g ; for cat use £, and 
not c, etc. 

20. Remember that constant repetition is indispensable to the 
establishment of the habit of correct pronunciation. 

21. Carefully avoid the substitution of short a for Italian a in 
the first three columns of the foregoing exercise. See Note 18 
under Exercise 8. Insist upon the vowel distinctions in the 
fourth and fifth columns. 





Exercisj 


: 10 




car 


carry 


carol 


carter 


mar 


marry 


marital 


martyr 


her 


herring 


herald 


herbage 


sir 


sirrah 


sirup 


sirloin 


for 


torrid 


foreign 


formal 


fur 


furrow 


borough 


furnace 


myrrh 


myrrhine 


myriad 


myrtle 



22. Note the normal sound of the vowels a, e, i, o, u, y, when fol- 
lowed by r, as in the first column. The a is Italian ; the e, o, and 
u take the coalescent sound ; the i and y in the first column are 
identical with e. While Italian a is often found unaccompanied 
by r, as in bath, calf, palm, all the other vowel sounds in the first 
column are determined by the letter r, and are called coalescents. 

23. Note that the accented vowels in the second and third col- 
umns are short a, e, i, o, u, quite unlike the vowel sounds of the 
first column. The change is in conformity to the following law, 
which is very broad in its application : When a vowel followed 

BY r TERMINATES AN ACCENTED SYLLABLE, AND THE NEXT SYLLABLE 
BEGINS WITH r OR A VOWEL, THE VOWEL IN THE ACCENTED SYLLA- 
BLE takes its short sound. To this rule we have a few excep- 
tions, consisting chiefly of derivative adjectives ending in ry and 
ish, as tarry, starry, furry, currish, in which the vowel sound in the 
primitive word undergoes no change. 

24. Note that when the r is followed by another consonant the 
vowel before the r has its normal sound. See fourth column. 

25. The sound of short u w r ith r, as in furrow, borough, hurry, is 
not found in the utterance of many persons, although in strict con- 
formity with the law as stated in Note 23 above. Give it careful 
practice until the pupil is able to sound it correctly and easily. 

11 



162 



ADVANCED ELOCUTION 







Exercise 11 




chance 


chants 


patience 


patients 


tense 


tents 


presence 


presents 


dense 


dents 


commence 


comments 


sense 


cents 


frequence 


frequents 


mince 


mints 


penitence 


penitents 


prince 


prints 


affluence 


affluents 



anger 


conquer 


banquet 


congress 


finger 


hunger 


linguist 


bungle 



26. After the written and oral analysis of the above words, pro- 
nounce them in pairs, as chance, chants, tense, tents, and bring out 
the distinction clearly and sharply. 

Exercise 12 

vanquish congratulate 

extinguish congressional 

congregation congruity 

manganesian concomitant 

27. Note that when n terminates an accented syllable and the 
next syllable begins with the sound of g or Jc, the letter n repre- 
sents the sound of ng. Even the secondary accent, as in the last 
two words of the third column, preserves the ng sound, but when 
there is no accent on the syllable ending with n, as in the words 
of the fourth column, the n takes its own sound. 

Exercise 13 

bomb bombard bombazine knowledge 

come comely company hautboy 

some comfort comfiture financier 

plover compass somebody guaranty 

28. Note that o frequently represents the sound of short u, as in 
the w T ords of the first three columns. 



Exercise 14 

exact exhale exhalation excellence 

exert exhaust exercise expedition 

exist exhibit exhibition extemporize 

example exhort execrate extravagance 



VERBAL EXPRESSION 



163 



29. Note that x takes the sound of gz when it is immediately 

followed by an accented syllable beginning with a vowel (see first 
column); also, when the accented syllable following begins with h 
(see second column). When x is followed by a syllable beginning 
with h or a vowel, but which does not have the accent, or when it 
is followed by a consonant, regardless of the place of the accent, 
it takes the sound of ks (see third and fourth columns). 

Exercise 15 

disaster dismal within forthwith 

discern disdain without herewith 

disease dishonest withhold therewith 

dissolve dishonor withstand wherewith 

30. In many monosyllables the terminal s represents the sound 
of z, as in as, is, has, his, teas, does, goes. In a few words the s of 
the prefix dis also takes the z sound (see first and second columns). 
On many words, however, the authorities are divided. 

31. The th of the prefix with takes the subvocal sound, as in that, 
them. When employed as a suffix, usage is divided. 





Exercise 


16 




aspen 


hymen 


fallen 


gospel 


chicken 


omen 


stolen 


rebel 


hyphen 


women 


swollen 


squirrel 


kitchen 


abdomen 


soften 


chattel 


lichen 


acumen 


chasten 


shekel 


marten 


bitumen 


listen 


shrivel 


32. See rules 


for en and el terminations, pages 149 and 150. 




Exercise 


17 




assuredly 


amazedness 


cavil 


pupil 


confessedly 


composedness 


civil 


evil 


designedly 


blessedness 


fossil 


weevil 


confusedly 


confusedness 


pencil 


devil 



33. Adverbs formed by adding ly, and nouns formed by adding 
ness to verbs ending in ed, sound the e in the ed syllable. 

34. See rules for il termination, page 151. 



164 



ADVANCED ELOCUTION 







Exercise 18 




lengths 


plough 


hough 


manoeuvre 


breadths 


dough 


through 


extraordinary 


widths 


cough 


weight 


telegraphy- 


depths 


tough 


height 


sardonyx 



35. Avoid the faulty forms lenx, tenths, lenkths in the pronuncia- 
tion of the first word ; brets, bretths, breds in the pronunciation of 
the second ; ivits, witths, ivids in the third ; and deps, debths in the 
fourth. 





Exercise 19 




with 


placard 


bronchitis 


circuit 


booth 


bouquet 


meningitis 


blackguard 


beneath 


tartaric 


laryngitis 


spouse 


bequeath 


research 


peritonitis 


blouse 



36. The first four words require vocal th, and are frequently 
mispronounced. 

37. Medical terms ending in itis, like those in the third column, 
take long i with the accent on the penult. Do not substitute 
long e. 

Exercise 20 

cracked crutch thoracic splenetic 

decked blotch spasmodic politic 

blocked much soporific catholic 

picked such balsamic climacteric 

38. Silent c usually intervenes between a single vowel and k; as 
in flecked, knocked. Between a vowel digraph and k the c does not 
appear ; as in soaked, leaked, looked. 

39. Between a single vowel and the consonant digraph ch, the 
letter t usually intervenes ; as in catch, wretch, hitch. In such case 
the t must be regarded as silent, and the digraph ch be given its 
normal sound, as in chin ; or, if the t be sounded, the digaph ch 
must be regarded as an equivalent for sh, as in chaise. The words 
much, such, which, rich, are exceptions to a very general rule. Like 
c in the words of the first column, the t is omitted before ch when 
a vowel digraph precedes ; as in peach, broach, crouch. 



VERBAL EXPRESSION 



165 



40. Adjectives ending in ic usually take the accent upon the 
penult ; as iuti insic, fon nsic, antarctic. There are a few exceptions ; 
as impolitic, lunatic, and the words found in the fourth column. 





Exercise 


21 




think 


sugar 


truths 


blatant 


clank 


coffee 


youths 


swarthy 


uncle 


truffle 


breaths 


stolid 


monkey 


cupboard 


heaths 


strata 



41. iXote that n before k in the same syllable represents the 
sound of ng. Compare the sound as represented by a in the 
words thin and think. See Note 27 under Exercise 12. 

42. In forming the plural of nouns whose singular ends in aspi- 
rate th, this sound usually changes to vocal th and the s sound 
changes to z, as in baths, wreaths, oaths, paths, mouths. Such excep- 
tions as truths, heaths, broilis, are often mispronounced. 





Exercise 


22 




viscount 


borealis 


wiseacre 


troche 


squalor 


tribunal 


transition 


tepid 


sojourn 


truculent 


trilobite 


plover 


suffice 


tyrannic 


sepulture 


conjure 


feline 


acclimated 


horizon 


adverse 


canine 


chastisement 


albumen 


adult 


brigand 


communist 


amateur 


allies 


basalt 


antarctic 


contrary 


adept 



43. In such words as suffice, tyrannic, acclimated, communist, allies, 
the student is often in doubt whether to use a single or a double 
consonant in his analysis. Orthoepists themselves are at vari- 
ance. 

If we hear but one n in any, it is evident that we hear but one 
in penny. There are as many t sounds in pity as in pretty. There 
are more p sounds in oppose than in choppy ; more in appear than 
in happy. The following rule will meet the case : When the accent 
falls upon the first of a double consonant, use but one in the written 
analysis ; when the accent falls upon the second, use both. 



166 



ADVANCED ELOCUTION 





Exeecise 23 




address 


composite 


condolence 


coquetry 


archives 


colportage 


sulphuric 


corridor 


assets 


subsidence 


defalcate 


lethargic 


aroma 


promulgate 


objurgate 


integral 


caloric 


mischievous 


controvert 


overseer 


occult 


enervate 


illustrate 


virago 


extant 


gondola 


vehement 


expletive 


ally 


sacristan 


orchestra 


inquiry 




Exercise 24 


/ 


diverse 


connoisseur 


pyramidal 


aureola 


contour 


umbrageous 


allopathist 


sublunary 


penult 


allegiance 


camelopard 


officinal 


pretence 


convenient 


contumacy 


matutinal 


portent 


herbaceous 


periphrasis 


athenaeum 


compeer 


immediate 


reparable 


telegraphist 


frontier 


surveillance 


secretory 


prolocutor 


construe 


congenial 


secretary 


hymeneal 




Exercise 25 




excise 


hegira 


excretory 


perfunctory 


quinine 


ambrosia 


suicidal 


approbative 


ornate 


biennial 


coliseum 


legislature 


overt 


aphelion 


capillary 


capitoline 


decade 


convivial 


isothermal 


recognizance 


recess 


courteous 


provocative 


compensative 


bestial 


peculiar 


quadrupedal 


chalcedony 


genius 


bounteous 


legislative 


mediaeval 



VERBAL EXPRESSION 



1G7 





Exercise 26 




Bumamed 


combat able 


pedagogy 


reconnoissance 


tedious 


ambrosial 


neuralgia 


inconvenience 


caisson 


conservator 


ameliorate 


receptivity 


nuncio 


comparable 


emollient 


pharmaceutist 


patois 


recitative 


palliative 


ignominious 


suavity 


photographer 


rationale 


irrefragable 


satiate 


refutable 


egregious 


Christianity 


fealty 


respirable 


parhelion 


homoeopathic 




Exercise 27 




alien 


apotheosis 


reciprocity 


portfolio 


series 


demoniacal 


omniscient 


peculiarity 


genial 


appreciate 


irrefutable 


ingratiate 


ratio 


magnesia 


plagiarism 


sociality 


trivial 


bestiality 


fiduciary 


indicatory 


spaniel 


ingenious 


impartiality 


magnolia 


sentient 


ingenuous 


discourteous 


auxiliary 


jovial 


pecuniary 


octogenary 


irrevocable 



Exercise 28 



hideous 


finale 


sociable 


substantiate 


cordial 


junior 


bivouac 


ingredient 


zouave 


glacial 


guardian 


superficies 


jujube 


folio 


mollient 


prescience 


morale 


ordeal 


casualty 


nescience 


banian 


premier 


breviary 


initiate 


nausea 


javelin 


nauseous 


flageolet 


hygiene 


inertia 


unctuous 


beauteous 



168 



ADVANCED ELOCUTION 



irreparably 

fragmentarily 

illimitable 

peremptorily 

dicotyledonous 

inexplicably 

indissolubly 

lamentably 



Exercise 29 

monocotyledonous 

trigonometrically 

obligatorily 

chirographically 

encyclopediacal 

exemplarily 

incomparably 

incorporeality 



incommensurability 

hypochondriacally 

indemonstrableness 

intercartilaginous 

irrefragability 

paleontologically 

unparliamentarily 

plenipotentiary 



Those who find difficulty in pronouncing long words 
having many syllables should practice upon the above list 
until an easy enunciation is secured.* 

General Exercises. 



1. He uttered a sharp, shrill shriek and was lost in the 
shroud of shifting mists. 

2. He burst his bonds and sprightly sprang upon the 
furious foe. 

3. His hand in mine was fondly clasped as Ave stiffly 
stood and gasped for breath. 

4. He twists his texts to suit the sects. 

5. Rejoiceth not in iniquity, but rejoiceth in the truth. 

6. As a man thinketh, so is he. 

7. Why did the fly fly? Because the spider spied her. 

8. The cross old dog sat on a log and watched the frog 
as he croaked in the bog. 



* A. convenient little volume, entitled " Handbook of Pronun- 
ciation," published by The Penn Publishing Company, Philadel- 
phia, will be found helpful in determining the pronunciation of 
the unusual words in the foregoing lists. 



VERBAL EXPRESSION 169 

9. His song was strong though not very long, and then 
it grew soft and was lost in the loft. 

10. The stupid duke grew enthusiastic over the super- 
ficial gewgaw. 

ii. 

1. The superintendent presented the juvenile students 
with tulips and chewing gum. 

2. The jubilant suitor played his lute under the spread- 
ing juniper tree. 

3. The dubious duke duped the tuneful junior and 
created a ludicrous tumult. 

4. The hurrying current furrowed a path through the 
slumbering borough. 

5. Jack Strapp took Jack's strap to mend Jack's trap. 

6. It will pay nobody. It will pain nobody. 

7. Deep in unfathomable mines 

He treasures up his bright designs. 

8. Goodness centers in the heart. Goodness enters in 
the heart. 

9. His cry moved me. His crime moved me. 

10. That morning, thou that slumberdst not before, 
Xor sleep'st, great Ocean, laid'st thy waves at rest, 
And hush'dst thy might} T minstrelsy. 

in. 

1. The advancing lance chanced to glance and passed 
the panting mastiff's head. 

2. The dancing lass quaffed off her glass, and danced 
and pranced to the entrancing lute. 

3. This shaft was grasped by the gasping class, who 
passed the flask and quaffed a draught. 

4. The learned hermit stirred the herbs with certain 
earnestness. 



170 ADVANCED ELOCUTION 

5. He read the thirty-third chapter and the first verse 
with earnest fervor. 

6. The nervous merchant served the thirsty Jerseyman 
with gherkins, perfumes, sperm-oil and thermometers. 

7. The universal verdict was first rehearsed by the ner- 
vous clerk. 

8. The turbulent furrier burst the bars and hurled his 
purse into the seething surge. 

9. The dauntless captain of the staunch and jaunty 
launch laughed at his wrathful aunt, twirled his mustache 
and proceeded to take his bath. 

10. The last stanza, describing the severest storm of the 
season, was the best. 



VISIBLE EXPRESSION OR GESTURE 

'"Her flesh was the soft, seraphic screen of a soul. ''— Robert Browning. 

Visible Expression is that which addresses itself to the 
eye. It mirrors thought and feeling in attitudes of the 
body, directions of the arm, positions of the hand, and ex- 
pressions of the face. In a sense, it is a universal lan- 
guage, and although the characteristic manifestations may 
differ among different nationalities, the spirit thereof can- 
not be mistaken. What is true regarding nationalities is 
also true of the individual. Heredity, temperament, and 
environment may. and do modify the mode, but every 
human being expresses himself by the same Natural 
Laws. The mode may be finished, easy, and artistic, or 
it may be crude, faulty, and ungraceful, while not infre- 
quently, in those who have little command of muscle or 
nerve force, it degenerates into meaningless motions and 
grimaces, so that the entire tract of visible expression, 
like an " unweeded garden," i3 in need of cultivation. 
True, one with an untutored manner, possessing a keen, 
analytic mind, a kind and generous heart, and a finished 
rhetoric, may convince and please his hearers ; but if his 
expressive powers are made commensurate with his other 
gifts he will not only satisfy his audience, but by this 
added irresistible force, will turn conviction and pleasure 
into entrancement and delight. Expression, both visible 
and vocal, has attracted the attention of many minds since 
it became one of the lost arts of the Greeks. By some it 
is regarded as belonging only to the stage ; by others as a 
spontaneous outgrowth of instant thought or feeling, and 
consequently not susceptible of being taught, On the con- 
trary, it is not restricted in any sense to the public plat- 
form, but enters into all life everywhere, whatever its eon- 

171 



172 ADVANCED ELOCUTION 

dition or surroundings. Consciously or unconsciously, it 
is the factor in the majority of our impressions of others, 
and its powers may be greatly enlarged and enriched and 
made highly demonstrative. 

In cultivating the Physical part of our Being so as 
to reflect the thought and feeling, it is needful, first, 
to acquire command of muscle and nerve force ; second, 
to understand the Principles or General Laws controlling 
Expression and, third, to apply these principles in exer- 
cises for practice, allowing the speaker to express the 
varying degrees which belong to the different conditions 
and emotions, according to his conceit or fancy. 

All art is more or less imitative ; yet, after certain me- 
chanical processes have been learned, the speaker should 
cease to think of principles and allow his mind and feel- 
ing to play at will, for he has become strong in his own 
liberated powers. 

GYMNASTICS 

" All means that conduce to health can neither be too painful nor too dear." 
—Montaigne. 

Valuable as is physical exercise for every one, it be- 
comes especially so, for all who aim to move the masses, 
by the power of thought and feeling, as it is manifested 
through grace, eloquence, and potency of expression. 

It is through the outward or physical nature that the 
inner part of the being manifests itself, and whatever can 
be done to render the outer more pliable and more re- 
sponsive is preparing the way to free and effective de- 
livery. In no way can this be done so well as through 
physical training — not indeed, through growth of power- 
ful muscle but through the education and mastery of muscle 
and the training of nerve force. 

Gymnastics as now taught in this country, under the 



VISIBLE EXPRESSION OR GESTURE 173 

German, Swedish, and French or Delsarte systems, is 
naturally divided into Medical, Martial, Educational, and 
JEsthetical gymnastics, and each of these has its appro- 
priate place and value in reference to grace, health, and 
physical development. The exercises presented in this 
work are divided into Educational and iEsthetical Gym- 
nastics, and are formulated upon the systems already 
named. 

Educational Gymnastics, for their distinctive purpose, aim 
to secure mastery of the muscles through the agency of 
the will ; to give them tone, vigor, and pliancy ; to render 
the body elastic in balancing and poising and to give gen- 
eral freedom of movement ; all of which, in addition, are 
conducive to health. 

jEsthetical Gymnastics, which are likewise excellent as 
health exercises, contribute more specifically to ease of 
posture, to harmony and rhythm (the constituent ele- 
ments of grace), and to the training of the body and its 
members as instruments of Expression. 

Suggestions Preliminary to the Practice of Exercises 
The Dress 

A regulation costume, such as is used in gymnasiums, 
can be adopted if desired, and the whole effect made 
pleasing to the eye, though it is not necessary for successful 
practice ; but it is very essential that the clothing be light 
in weight, and so adapted as not to restrict the move- 
ments. Full freedom must be given to neck and limbs, 
and no abnormal pressure or weight should bear upon the 
more vital parts. For ladies a loose underwaist should 
be worn to which the skirt of the dress is attached, and a 
blouse waist or sailor jacket may complete the dress. In 
these days, when women are taking a just pride in being 
healthful, it is not to be presumed that any one with 



174 ADVANCED ELOCUTION 

common sense, will attempt to practice any gymnastics in 
society dress, tight waist, or stays. 

Gentlemen, in practicing, should lay aside cuffs, collar, 
coat, vest, and suspenders ; or what is better still, wear a 
negligee shirt, with pantaloons adjusted by a belt. The 
shoes for both sexes should be light, low ones without 
heels, in order that the ankles may be unrestricted and 
strengthened. 

The Practice 

A word of advice may be given here to the novice. 
In exercising, avoid extremes. Begin and close exercises 
gently, doing the more vigorous work between. Avoid 
standing in drafts, but have the air in the room cool and 
pure. Exercise symmetrically, so that the different parts 
of the body may be evenly developed. Do not call into 
action muscles that are not required in a given exercise. 
Be careful to tension and stretch muscles, with the inter- 
vening relaxation, but avoid jerks. Whether exercising 
yourself or directing others, make the exercises a positive 
pleasure — enjoy them, enter into them with enthusiasm, 
and study with an artist's eye the precision and harmony 
of motion and poise. Practice patiently and regularly, 
and do not be discouraged if the looked for results are not 
at once apparent. Both time and labor are required to 
render the muscles pliant and plastic. In all exercises, 
breathe freely and deeply through the nostrils and not 
through the mouth, and never practice until wearied. If 
after exercising a few times dizziness occurs, accompanied 
by sharp pains under the shoulder blades, or if there is 
a too rapid or irregular heart beat, consult a physician 
before proceeding further, as serious complications may 
ensue. 



VISIBLE EXPRESSION OR GESTURE I/O 

EDUCATIONAL GYMNASTICS 

Educational Gymnastics are divided kito Free Work 
and Calisthenics. 

Nora — No attempt is made to include heavy apparatus work — 
this belongs specifically to the gymnasium, and is not essential to 
the object in view, in this book. 

In Free Work the various exercises are performed with- 
out the use of any apparatus. 

In Calisthenics the apparatus is moved by the body, 
and consists of exercises or drills with dumb-bells, wands 
or bar-bells, rings, clubs, pulley weights, poles, hoops, 
ropes, foils, and broadswords. 

Exercises of special use to students in oratory are 
limited to free work, wands, and dumb-bells, and these for 
convenience and development are arranged in groups con- 
sisting of 

1. Preliminary Exercises. 

2. Head Exercises. 

3. Trunk and Abdominal Exercises. 

4. Shoulder Blade Exercises. 

5. Arm Exercises. 

6. Balance Movements and Leg Exercises. 

The Preliminary Exercises are for the purpose of secur- 
ing muscular control, correcting basic positions, and 
attaining poise through due observance of the law of 
gravity. 

The Head Exercises are for the purpose of correcting a 
hollow chest and protruded chin, and to give nobility of 
carriage to the entire body. 

The Trunk and Abdominal Exercises serve to expand the 
chest, straighten the spine, strengthen the parts about the 
waist and the w T alls of the abdomen, and conduce to greater 
healthfulness of the internal organs. 



176 ADVANCED ELOCUTION 

The Shoulder Blade and Arm Exercises give strength and 
tone to the muscles of the upper extremities, and correct 
the faulty habit of drooping shoulders and protruding- 
shoulder blades. 

The Balance Movements and Leg Exercises serve to give 
ease, grace, and celerity in motion, as well as dignity to 
carriage of body. 

Note. — The exercises given in the above classification, either 
singly or in combination, are arranged in various groups or orders, 
and will be found in their proper connection in the succeeding 
pages. 

Nomenclature 

For Free Work and Calisthenics the following nomen- 
clature, now used mainly in Gymnasiums, is adopted. 
This, if followed, in connection with the additional ex- 
planations and illustrations, will lead to a ready compre- 
hension of the exercises. 

The term Lateral, both for position or exercise, means 
directly to the side, either to right or left, as may be indi- 
cated. 

Vertical means perpendicular to the plane of the horizon, 
or in same direction as the spine. 

Horizontal means parallel to the horizon in any direction 
from the body. 

Prone means turned toward the earth. 

Supine means turned from the earth. 

Rotation means moving with the axis. The parts or 
members of the body which can be rotated are head, 
trunk, arms, and thighs. 

Circumduction means moving about the axis. The parts 
or members of the body which can be circumducted are 
head, trunk, and upper and lower extremities. 

The Flexors and Extensors are muscles belonging ex- 
clusively to the upper and lower limbs, hence the terms 



VISIBLE EXPRESSION OR GESTURE 177 

flexion and extension apply only to exercises relating to 
them ; as we flex or extend forearms, hands, and fingers, 
thigh3, legs, and feet. 

Half-flexion means to flex the limb to right angle. 

Bending applies to exercises of head and trunk. 

Toe-toucJi means toe alone touches the floor. 

Lunge or Fall-out means that the foot is advanced two or 
three times its own length, and the charging limb is bent 
at the knee, with line of gravity in charging limb. 

An Oblique or Diagonal motion or position of upper or 
lower limbs is in a direction midway between front and 
lateral, or lateral and back, as may be indicated. 

Arms down means arms hanging down at side, little 
finger almost touching thigh. 

Rigid means limbs or body stiffened. 

Heels closed means placed together, toes out at an angle 
of about sixty degrees. 

Hips firm means hands on hips, fingers front, thumbs 
back, elbows in line with shoulders. 

Knees firm means lower limbs unbent at knees. 

Positions 

First position or fundamental position is standing with 
heels closed, knees firm, hips in, and arms down at side, 
little finger almost touching thigh. 

Second position, or wing standing position, is same as the 
first position, except hips are firm. 

Stride position means separating the closed heels once 
the length of the foot sidewise. 

Parade rest position is right foot back of left, with hollow 
of foot near left heel, line of gravity in right limb, left 
knee slightly relaxed. 

Standing in lengths means one foot in advance of the 
other according to distance indicated. 
12 



178 ADVANCED ELOCUTION 

Standing in widths is same as stride position, except 
according to distance indicated. 

In teaching a class the command Class — Attention ! 
means that when the second word is given the pupils take 
position and remain quiet for the next order. 

Hold ! or Halt ! means a pause in walk, march or 
exercise. 

The command Break ranks — March! means that the 
class is dismissed. 

The teacher should count aloud for the class until the 
order of exercises is easily remembered.- Good music is 
not only a great attraction, but inspiring and helpful to 
both pupils and instructor, but care must be exercised 
that it does not lead the pupils to become mechanical or 
jerky. For Free Work use marches and polkas ; for wands, 
marches ; for dumb-bells, marches and waltzes ; for march- 
ing and fancy steps, slow and quick marches and galops. 

Note.— Preliminary to the regular order of exercises, and as an 
adjunct in securing the most satisfactory results therefrom, atten- 
tion is directed to the importance of standing and walking pro- 
perly, practice in each constituting, also, a pleasing and healthful 
gymnastic. With these may be fittingly included the most 
approved way to sit, to rise, to courtesy, to kneel, and to bow. 

CARRIAGE OF BODY 

" No harmonious movement of body is possible without a correct action of the 
muscles."— Guttmann. 

It is not necessary when saying " that good health de- 
pends upon a proper carriage of the body," to substantiate 
the statement by argument, yet, how few persons while 
admitting the fact practice what they believe. Ever ready 
to recognize and admire the elastic step and majestic mien, 
yet they fail to utilize the natural endowments of which they 
are possessed. While it is not desirable that every one 
should stand, sit, or move in precisely the same manner, 



VISIBLE EXPRESSION OR GESTURE 179 

there are certain rhythmic laws in regard to both posture 
and attitude, the observance of which will conduce to health 
of body and beauty of form, without in the least interfer- 
ing with diversity in manner, bearing, or personality. 

As the proper carriage of the body, especially of its 
vital organs, is both healthful and graceful, it is neces- 
sary rirst to learn the appropriate position that each of 
its members should take. The simplest position is to 
place the heels as closely together as the contour of the 
lower limbs will permit, with toes turned outward at an 
angle of about sixty degrees ; the knees should be firm, hips 
inward, shoulders on line with hips, head easily erect, 
with crown of head highest ; chest raised — that is, drawn 
upward, thus liberating respiratory organs and abdominal 
viscera. Allow weight of body to rest on balls of feet. 
Standing thus, the line of gravity falls between the feet near 
the line of the toes. In this position see that no part of 
the body is unduly tensioned, and that all the sustaining 
muscles are in tone, but pliant. This is not only a good 
position for a proper carriage, but it is a fundamental posi- 
tion in the regular gymnastic exercises, and from this 
other and more complex positions are taken. The line 
of gravity, however, must not be broken nor distorted in 
passing from one basic position to another, for if this hap- 
pens, the entire body is thrown out of the lines of both 
strength and grace. The low r er limbs being controlled by 
special law r s relating to the centre of gravity, the line of 
gravity becomes a controlling influence in standing or in 
moving, and any variation of it mars the wdiole posture.* 



\ 



*The great care which painters and sculptors exercise upon this 
r ery point when placing inanimate figures upon canvas, or in 
chiseling them in marble, shows how important in their estima- 
tion is the observance of this rule. Should not at least the same 
care be taken by every one concerning his own physical being, 
when the object is health, comfort, capability, and beauty ? 



180 ADVANCED ELOCUTION 

Usual Faults in Standing 

1. Protruded chin. 

2. Hollow or relaxed chest. 

3. Protruded hips and abdomen. 

4. Toes not at proper angles. 

5. Both knees relaxed. 

6. Arms hanging too far forward. 

7. Looseness in all parts of the body. 

8. Over-nicety in all parts of the body. 

9. Stiffness in all parts of the body. 

Exercises Corrective of Faults in Standing 

1. Stand with heels closed and rise on toes. 

2. Extend arms obliquely forward and downward, 
palms of hands toward earth, at same time head and chest 
drawn upward, crown of head highest. Sustaining this 
position, let hands fall easily to side. 

3. Walk about room with light weight upon head. 

4. Walk about room on toes with stiff knees. 

5. Poise body forward without bending in hips or knees, 
carrying line of gravity to toes, from toes to heels, then to 
right side, then to left side. Repeat many times. 

6. Place one foot three or four inches in advance of the 
other and rise on toes. 

7. Stand at the side of a room, which has neither sur- 
base nor other projection : let the back of head, shoulders, 
rump, and heels touch the wall : from this position ad- 
vance several paces, retaining the upright carriage of the 
body. 

Note. — The carriage or position should be that in which one can 
rise upon the toes without swaying the body forward from the 
ankles or bending in the hips. 



VISIBLE EXPRESSION OB GESTURE 181 

WALKING 

"The natural gait arises, not from strength of muscle (false activity of the 
muscles), but from the law of gravity."— Guttmann. 

Some one has said that all created things having the 
power of locomotion, except man, move in harmonious 
correspondence with the law of their nature. He alone 
hops and halts, trudges and strides, limps and ambles, and 
moves over the ground in a variety of other ways, all of 
which are in opposition to the rhythmus of his being. 
Much of this, without doubt, is due to the environment 
incident to civilized life, more to the burdens imposed 
upon humanity by the dicta of fashion, and still more 
to carelessness and ease of self. The need to man of 
walking no one will question. It is an absolute necessity. 
To walk easih T and well, should be desired by every one 
on account of comfort and health ; to walk elegantly, 
should be coveted, for it is an art. 

When the right muscles are exercised and a proper 
pendulous action takes place, walking becomes a pleasure, 
because the exercise is made easy, because, in itself, it is 
exhilarating, and, being mostly in the open air is, for both 
sexe3, a most healthful gymnastic. 

Faults in Walking 

1. Walking with weight on heels, thus jarring spine. 

2. Bobbing body up and down. 

3. Rolling gait. 

4. Pitching gait. 

5. Strutting gait. 

0. Loose or shuffling gait. 

7. Hip action. 

8. Stiff leg (muscles between knee and ankle strongly 
tensioned). 

9. Unequal or irregular step. 

Walking may be termed a series of arrested fallings, 



182 ADVANCED ELOCUTION 

and has been uniquely defined as " a steady forward 
movement of the torso through a regularly repeated 
action of the lower limbs." In other words, when there 
is an impulse to move the body forward, the line of 
gravity immediately passes to one foot alone ; the other 
foot is then loosened from the earth (the heel rising first) 
and the knee is relaxed ; the muscles between the knee 
and ankle are relieved of tension, and the limb is thrust 
forward or pried over in a lever-like way by the powerful 
muscles of the thigh, in which the principal action in 
walking takes place. The foot is next set upon the 
ground, the ball of the foot touching first, if there is no 
artificial heel to prevent ; if there is, the heel will touch 
the ground first, but it should be the inner part of the 
heel — that is, the part nearest the ball of the foot, and 
almost simultaneously with this should be the touch of the 
ball of the foot. In a similar manner the other foot is 
carried forward, the repeated movement resulting in a 
pendulous action of the body — induced by the forward 
shifting of the line of gravity. The body inclines slightly 
forward, to accommodate itself to these changes, but must 
not be bent at the hip. The head should be held easily 
but not stiffly erect, and in line with the continu- 
ously advancing limbs. The hands, unless supporting or 
carrying some object, should be clown, at the side, and 
allowed to share the easy pendulous action of the body, 
so as to aid rather than hinder the elasticity of the step. 
For comfort and grace of movement the length of the step 
should not extend beyond the length of one's own foot — 
that is, the advancing foot should be carried forward until 
the heel is distant one foot-length from the toe of the 
stationary one. Of course when pupils are moving in line 
this cannot be so precisely followed. Then a regulation 
step must be adopted. 

In presenting the mechanical processes of good walking 
no attempt is made to correct individual peculiarities, but 



VISIBLE EXPRESSION OR GESTURE 183 

simply to render it possible for each person to move in 
>rd with the law by which all are governed; nor is 
there any attempt to repress the mood which may be 
dominating the mind and which often influences the gait. 
The perfection of walking lies in a movement so steady, 
that one is reminded of the gliding of a boat over a still 
stream, or the skimming of a swallow through the air. 

All exercises, either in walking or marching, should be 
taken in gymnastic shoes, or in easy shoes of light weight, 
without heels, so that the foot may have as nearly as pos- 
sible the freedom of a natural step. For out-door exercise 
the shoe should be stouter, with broad soles and low, flat 
heels. 

Walking Backward 

The backward step is especially valuable as an exercise 
in acquiring ease of gait and agility in the use of the feet. 
It should be carefully practiced by ail w r ho are engaged in 
any kind of platform work, and also by those in other 
walks of life. 

In walking backward the inner part of the great toe 
should touch the floor first, then the entire foot sinks 
downward in its place, the knees being turned outward to 
preserve the equilibrium. Care should be taken not to 
displace the line of gravity by drawing head and shoulders 
forward. 

Exercises Conducive to a Free and Elastic Step 

1. Walking or marching in regular step (quick and 
slow). 

2. Walking or marching on toes. 

3. Walking or marching on toes with stiff knees. 

4. Walking or marching on toes with alternate knee 
bending. 

5. Walking or marching with toe-touch and step. 



184 ADVANCED ELOCUTION 

6. Walking or marching with cross step. 

7. Walking or marching on toes with cross step. 

8. Walking or marching with toe-touch and cross step. 

9. Walking or marching with foot crossing and knee 
bending. 

10. Running on toes, 

11. Walking backward. 

12. Running backward. 

Note. — From the above many other useful combinations in 
marching may be made. 

SITTING 

To assume an easy and upright attitude or position in 
sitting, the following directions should be observed : Place 
one foot two or three inches back of the other, toes of 
both feet outward, the heel of the advanced foot toward 
the hollow of the backward one. Then with line of gravity 
in backward limb, with torso inclined forward, and head 
slightly backward, evenly sink to seat. 

RISING 

In preparing to rise, place the feet in position similar 
to that taken in preparing to sit, with weight in back 
limb and with a like inclination of torso and head. 

COURTESYING 

In courtesying assume the same general position and 
inclination of body and head, bending the limbs also in 
the same manner as in preparing to sit ; except that the 
lengthwise position of the feet should be increased, espe- 
cially if the courtesy be profound. While the posture is 
held, there must be ample bend in hips and back knee. 

KNEELING 

- To kneel easily and gracefully place one foot backward 
as in courtesying ; then with a similar inclination of body 



VISIBLE EXPRESSION OR GESTURE 185 

and head, the line of gravity in forward limb, and with 
Blight pressure on toes of backward one, sink upon re- 
treated knee. In so doing let both limbs sustain the 
weight of body ; the line of gravity thus falls between the 
feet. On assuming an upright posture slowly carry rear 
foot forward to a normal position. 

BOWING 

Bowing is the most common of all salutations, and con- 
sists ordinarily of simply a slight inclination of the head, 
but if occasion demand, it may be the deeper and more 
reverential one of bending the body at the hips. Which- 
ever mode is used, it should be executed evenly, avoiding 
a quick or hesitating jerk. 

FREE WORK 

Prelim inary Exercises 

Assume first position, viz. : Stand with heels closed, 
knees firm, hips in and arms down at side, little finger 
almost touching side. 

1. Exercise the various joints of the body and limbs by 
flexion, bending, rotation, and circumduction. 

2. Carry right hand to hip three or four times. 

3. Carry left hand same. 

4. Carry both hands same. 

5. Raise right arm rigid to horizontal front, palm prone. 

6. Left, same. 

7. Both, same. 

Hips firm. See page 177. 

8. Walking in place. (That is, stand in place and ex- 
ercise limbs as in walking.) 

9. Running in place. (That is, stand in place and ex- 
ercise limbs as in running.) 

10. Hopping in place. 



186 ADVANCED ELOCUTION 

11. Extend right limb rigid to right, toes pointing 
downward. 

12. Left, same. 

13. Advance right foot twice or three times its length, 
to oblique-front right and fall-out by bending right knee. 
(Be careful to preserve harmony of muscular action from 
head to feet. ) 

14. Return to position and do same with left foot. 
Assume stride position. See page 177. 

15. Rise on toes and heels alternating. 

16. Rise on toes and flex knees to sitting position, 
thighs touching upturned heels ; rise and quickly recover 
position. 

17. Cross right foot over and beyond left foot, toes 
touching floor. 

18. Left foot same over right. 

19. Rise on toes with closed heels and flex knees. 

20. Respiratory exercise. (Inhale freely and deeply 
through nostrils.) 

Regular Exercises 

The following exercises are in groups, arranged in sys- 
tematic order, each group being intended to call into action 
different sets of muscles. 

First Order 

Assume wing standing position. See page 177. 

1. Heel elevation (rise on toes) eight counts; with 
music, four accented beats. 

2. Toe elevation, eight counts ; with music, four accented 
beats. 

3. Heel and toe elevation (alternating), eight counts; 
with music, four accented beats. 

4. Trunk bending forward, eigh.t counts; with music, 
four accented beats. 



VISIBLE EXPRESSION OR GESTURE 187 

5. Trunk bending backward, eight counts; with music, 
four accented heats. 

6. Trunk bending to right, eight counts ; with music, 
four accented beats. 

7. Trunk bending to left, eight counts ; with music, 
four accented beats. 

8. Trunk bending and rotation, eight counts ; with 
music, four accented beats. 

Explanation. — In eighth exercise bend trunk forward on 
first count, then without elevating body rotate to right on 
second count, backward on third count, left on fourth 
count, front on fifth count, again to left on sixth count, 
backward on seventh count, right on eighth count, and lift 
body to position. 

Arms folded behind back. 

9. Head bending forward, eight counts ; with music, 
four accented beats. 

10. Head bending backward, eight counts ; with music, 
four accented beats. 

11. Head bending to right, eight counts; with music, 
four accented beats. 

12. Head bending to left, eight counts ; with music, four 
accented beats. 

13. Head rotation to right, eight counts; with music, 
four accented beats. 

14. Head rotation to left, eight counts ; with music, 
four accented beats. 

15. Head bending and rotation, eight counts ; with 
music, four accented beats. 

Follow same order for No. 15 as that given for trunk 
bending and rotation, No. 8. 
Hands clinched on chest. 

16. Arm extension downward, sixteen counts or eight 
accented beats. 

Explanation. — Extend right arm downward with 



188 ADVANCED ELOCUTION 

clinched hand, four counts ; left, four counts ; alternate, 
four counts ; simultaneous, four counts. 

17. Arm extension, horizontal lateral, sixteen counts, 
eight accented beats. 

18. Arm extension, vertical, sixteen counts, eight ac- 
cented beats. 

19. Arm extension, horizontal front, sixteen counts, 
eight accented beats. 

Arms down. See page 177. 

20. Flex right knee (toes of right foot on floor), eight 
counts or four accented beats. 

21. Flex left knee (toes of left foot on floor), eight 
counts or four accented beats. 

22. Alternate right and left knee flexion (foot on floor), 
eight counts or four accented beats. 

Hands closed in fists, palms facing front. 

23. Finger extension (spread fingers widely apart), eight 
counts or four accented beats. 

24. Finger extension (arms horizontal, lateral), eight 
counts or four accented beats. 

25. Finger extension (arms vertical), eight counts or 
four accented beats. 

26. Finger extension (arms horizontal, front, palms 
prone), eight counts or four accented beats. 

Arms down. 

27. Alternate foot crossing, arms vertical, finger-tips 
touching, sixteen counts or eight accented beats. 

Explanation. — On first count cross left foot over right, 
toes touching floor, at same time arms rise to vertical, 
finger-tips of both hands touching over head ; on second 
count return to position ; on third count right foot over 
left, hands again to vertical, return to position on fourth 
count ; repeat thus through sixteen counts. 

28. Balance exercise, right foot forward, eight counts 
or four accented beats. 



VISIBLE EXPRESSION OR GESTURE 189 

In this position sway forward and backward, alter- 
nately raising heel of left and toe of right foot. 

29. Balance exercise, left foot forward eight counts or 
four accented beats. 

30. Stride standing position, with heel elevation, eight 
counts or four accented beats. 

Explanation. — Separate feet ten or twelve inches and 
rise on toes. 

Second Order 

Position : stand with closed heels, finger-tips to shoulders, 
elbows lateral. 
Arm extension. 

1. Extend right arm to horizontal front, palm prone, 
eight counts. 

2. Left same, eight counts. 

3. Both same, eight counts. 

4. Extend right arm to vertical, palm facing front, 
eight counts. 

5. Left same, eight counts. 

6. Both same, eight counts. 

7. Extend right arm to horizontal lateral, palm prone, 
eight counts. 

8. Left same, eight counts. 

9. Both same, eight counts. 
Wing standing position. 

Foot extension. 

10. Extend right foot forward, toes pointing dowmvard. 
eight counts. 

11. Left same, eight counts. 

12. Extend right foot backward, eight counts. 

13. Left same. 

14. Extend right foot forward and backward alternately, 
eight counts. 

15. Left same. 



190 ADVANCED ELOCUTION 

Arms down. 

Arm flexion and extension. 

16. Right hand to shoulder and horizontal front, eight 
counts. 

Explanation. — On first count carry finger-tips of both 
hands to shoulders ; on second count carry left arm to 
horizontal front, palm prone; on third count back to 
shoulder ; on fourth count arms down. Repeat through 
remaining four counts. 

17. Left arm same. 

18. Both arms same. 

19. Right arm to vertical, palm facing front, following 
same general order as in sixteenth exercise. 

20. Left arm same, eight counts. 

21. Both arms same, eight counts. 

22. Right arm to horizontal lateral, following same 
general order as in sixteenth exercise. 

23. Left arm same, eight counts. 

24. Both arms same, eight counts. 
Lunges with arm flexion and extension. 

25. Lunge or charge with right foot, eight counts. 
Explanation. — On first count finger-tips to shoulders, 

second count, right arm to horizontal front, palm prone, 
same time charging directly forward with right foot, right 
knee bent ; on third count recover foot position ; on fourth 
count hands down. 

26. Same exercise reversed— that is, with left foot and 
left arm, eight counts. 

27. Same with right foot and right arm to right lateral, 
eight counts. 

28. Same reversed, eight counts. 

29. Same with right foot and right arm diagonally 
back, right, eight counts. 

30. Same reversed, eight counts. 



VISIBLE RXPRESSION OR GESTURE 191 

Trunk bending with arm flexion and extension. 

31. Combination to right, eight counts. 
Explanation. — On first count finger-tips to shoulders; 

on second count pivot on ball of left foot to right, at same 
time place right foot three or four inches forward to right, 
turning trunk in same direction ; on third count bend trunk, 
extending arms downward until finger-tips nearly or quite 
touch the floor ; on fourth count straighten body, and carry 
finger-tips to shoulders ; on fifth count do same as on third 
count ; on sixth same as on fourth ; on seventh recover foot 
position ; on eighth count arms down. 

32. Same exercise reversed, or to left, eight counts. 

33. Same as thirty-first exercise, except to oblique back, 
right, eight counts. 

34. Same exercise reversed, or to oblique back, left, 
eight counts. 

Wing standing position. 
Foot Stretch Exercise. 

35. Right foot — stretch, eight counts. 
Explanation. — On first count place right foot two or 

three inches backward on toes ; on second count lift foot 
off floor and stretch it backward making it as nearly 
straight with limb as possible, at same time incline for- 
ward at hips, and slightly bend knee of left limb ; on third 
count straighten body and place foot as in first count; on 
fourth count return to position. Repeat exercise through 
remaining four counts. 

36. Left foot — stretch, eight counts. 

37. Standing knee flexion, eight counts. 
Explanation. — On first count rise on toes; on second 

count bend knees outward, and sink about half distance 
downward, keeping heels close together ; third count same 
as first ; on fourth count recover position. Repeat exercise 
through remaining four counts. 



192 ADVANCED ELOCUTION 

Stretch Exercises. 
Arms down. 

38. On first count raise right hand to vertical, palm facing 
to left ; on second count place left foot directly forward three 
times its length and fall out ; on third count recover posi- 
tion ; on fourth count, arm down. Repeat through eight 
counts. 

39. Do same, reversely, eight counts. 

40. On first count raise right arm as in No. 38 ; on 
second count stretch left limb directly backward and bend 
body forward at hips, body and left limb being directly 
on line ; on third count recover position ; on fourth count 
right arm down. Repeat through eight counts. 

41. Do same reversely. 

Third Order 

Position: heels closed, arms folded behind bach. 
Diagonal short step. 

1. Right foot diagonally forward, right, eight counts. 

Explanation. — On first count place right foot diago- 
nally forward (midway between front and lateral) about 
three inches, retaining line of gravity in left foot; on 
second count recover position ; repeat the exercise through 
eight counts. 

2. Left foot same, eight counts. 

3. Right foot diagonally backward, eight counts. 

4. Left foot same, eight counts. 
Arms down. 

Rigid arm extension. 

5. Right arm rigid to vertical via front, eight counts. 
Explanation. — On first count carry right arm with 

straight elbow and wrist to perpendicular, palm facing to 
left ; on second count return it to position ; repeat through 
eis;ht counti. 



VISIBLE EXPRESSION OK GESTURE 193 

6. Left arm same, eight counts. 

7. Both arms same, eight counts, 

s . [light arm rigid to vertical, via lateral, eight counts. 
9. Left arm same, eight counts. 

10. Both arms same, eight counts. 
'Arms horizontal front, palms facing. 

11. Rigid arm extension to horizontal lateral, eight 
count-. 

Explanation. — On first count carry both arms with 
straight elbow and wrist from front to lateral ; on second 
count again to front ; repeat the exercise through eight 
counts. 

12. Lateral trunk bending with pendulous arm action, 
sixteen counts. 

Explanation. — Bend body at hips well over to right, 
head and trunk facing front, at same time carry arms with 
graceful swing from front to horizontal lateral, right, and 
circling upward and back again to horizontal front as 
body regains position (this will occupy two counts); with- 
out pausing front, carry body and arms in same way to 
left ; repeat through sixteen counts. 

Arms down. 

Foot crossing with toe-touch, front and back, sixteen counts. 

13. Right foot crossing with toe-touch, eight count.-. 
Explanation. — On first count carry right foot over left 

foot until it is opposite left side of left ankle, toe touching 
floor ; retain position on second count ; on third count 
swing right foot round to fullest extent of right limb until 
foot is back and to left of left foot, toe again touching 
floor ; hold position on fourth count : repeat the exercise 
through three counts, regaining position on eighth count. 

14. Do same with left foot, eight counts. 
Lateral arm -siring overhead. 

15. Right arm swing, eight counts. 

Explanation. — On first count carry right arm via 
13 , — .- 



194 ADVANCED ELOCUTION 

lateral, with palm outward, up and over head, loose elbow 
and wrist, finger-tips directed downward and almost 
touching top of head; on second count return hand down 
to side ; repeat through eight counts. 

16. Do same with left arm, eight counts. 

17. Do same with both arms, eight counts. 
Arms down front, fingers loosely intertwined. 

18. Courtesy exercise, twenty-four counts. 
Explanation. — On first count place right foot once or 

more its length back and somewhat to left of left foot ; on 
second count bend body strongly in hips and right knee, 
at same time extending hands forward and downward, 
with fingers interlocked and palms outward; on third 
count straighten body and knee, and on fourth count 
return to position ; repeat through remaining four counts. 
Do same in reverse order, eight counts ; do same alter- 
nately, eight counts. 
Arms doivn. 

19. Poising exercise with knee flexion, twenty-four 
counts. 

Explanation. — On first count flex right knee outward, 
carrying heel of right foot to knee of left, at same time 
bring right hand gracefully up, via front, overhead and 
pendant, and left hand gracefully near chest, finger-tips 
directed inward; on second count return to position; 
repeat the exercise through eight counts. Then do same 
in reverse order, eight counts, and same alternately, eight 
counts. 

20. Poising exercise with heel elevation, thirty-two 
counts. 

Explanation. — On first count place right foot once 
its length forward, and carry hands to same position as in 
No. 19 ; on second count rise on toes ; on third count heels 
again to floor; on fourth count return to position; repeat 
exercise through remaining four counts. Do same re- 



VISIBLE EXPRESSION OR GESTURE 195 

versely, eight counts, then turn to oblique-back right, 
following same order, eight counts ; do same reversely, 
eight counts. 

Arms down front, fingers loosely intertwined. 

21. Attitudes diagonally forward, sixteen counts. 
Explanation. — On first count place right foot once its 

length over and beyond left foot, with line of gravity in 
right foot, left on toes, at same time bring hands, with 
intertwined fingers over head and palms upward, head 
raised and eyes looking upward, hold attitude through 
seven counts, on eighth return to position. Do same 
reversely, eight counts. 

22. Attitudes diagonally backward, sixteen counts. 
Explanation. — On first count place right foot twice 

its length diagonally back right, and carry hands with 
interlocked fingers up, over, and. back of head, allowing 
head to lie in hands, thus giving it support, incline trunk 
backward on line with left limb and hold position through 
seven counts, returning on the eighth count to position. 
Do same reversely, eight counts. 

Fourth Order 

Wing standing position. 

1. Right knee flexion, eight counts. 
Explanation. — -Raise right foot backward and upward 

as far as possible, keeping right knee parallel with left 
knee ; repeat through eight counts. 

2. Left knee flexion, eight counts. 
Thigh flexion. 

3. Flex right thigh, eight counts. 

Explanation. — Raise right limb forward, knee flexed 
until toes are nearly on line with knee of left limb. 

4. Flex left thigh, eight counts. 



196 ADVANCED ELOCUTION 

Rigid limb extension. 

5. Right limb rigid to right (toes pointing downward), 
eight counts. 

6. Left limb rigid to left, eight counts. 
Oblique fall-outs. See page 177. 

7. Right oblique fall-out, eight counts. 
Explanation. — On first count place right foot three 

times its length forward to oblique-right ; on second count, 
fall out, by bending knee of right limb; on third count 
straighten knee ; on fourth count recover position. Repeat 
the exercise through remaining four counts. 

8. Do same reversely, eight counts. 

9. Do same backward to oblique-right (pivoting on ball 
of left foot), eight counts. 

10. Do same backward to oblique-left (pivoting on ball 
of right foot), eight counts. 

Shoulder blade -exercises. 

11. Clasped thrusts, eight counts. 

Explanation. — With clasped hands, behind back at 
waist line, thrust downward four times. 

12. Palm slide, eight counts. 

Explanation. — With arms extended, horizontal front, 
and hands palm to palm, slide hands backward and for- 
ward without bending elbows or wrists. 

Arms down. 

13. Arm extension and shoulder shrug, twenty-four 
counts. 

Explanation. — On first count shrug right shoulder; on 
second count return shoulder to position ; on third count 
raise right arm to horizontal lateral, palm prone; on 
fourth count, arm down. Repeat through eight counts. 

14. Left same, eight counts. 

15. Both same, eight counts. 

16. Right hand to arm-pit and shoulder (alternating), 
eight counts. 



VISIBLE EXPRESSION OR GESTURE 197 

Explanation. — On first two counts carry fingers of 
right hand to riLrht arm-pit, elbow outward ; on next two 
counts carry arm outward and upward and inward until 
finger-tips rest on shoulder. Repeat the exercise through 
remaining four counts. 

17. Do same with left hand, eight counts. 

18. Do same with both hands (alternating), eight 
counts. 

19. Do same with both hands simultaneously, eight 
counts. 

Arm extension rigid. 

20. Right arm rigid, eight counts. 

Explanation. — On first count raise right arm, w T ith 
rigid elbow and wrist to horizontal front, palm upward ; 
on second count, carry it in same position to horizontal 
lateral ; third count as on first, and on fourth count down 
to side. Repeat through remaining four counts. 

21. Do same with left arm. eight counts. 

22. Do same with both arms, eight counts. 

23. Swimming exercise, thirty-two counts. 
Explanation. — Place hands close to chest and palm to 

palm, fingers directed forward. On first count advance 
right foot forward, twice its length, knee firm, left foot on 
toe, at same time carry hands palm to palm directly for- 
ward ; on second count carry them to horizontal lateral, 
palms outward; on third count bring hands again near 
chest. Repeat exercise through fifteen counts, recover 
position on sixteenth count, then advance left foot and 
repeat the exercise through fifteen counts. 
D la go 1 1 al fall-o ut atiitu des . 

24. Right diagonal fall-out, eight counts. 
Explanation. — On first count step three times length 

of foot to oblique front, right, with right foot, pivoting 
round to left on balls of both feet until heel of left is on 
line with hollow of right, right limb supporting, knee 



198 ADVANCED ELOCUTION 

slightly bent, cany clasped hands to left shoulder, head 
thrown back, chin up, hold attitude, recovering position 
on eighth count. 

25. Do same reversely, eight counts. 

26. Do same diagonally back to right, looking over left 
shoulder, eight counts. 

27. Do same diagonally back to left, looking over right 
shoulder, eight counts 

CALISTHENICS, OR APPARATUS WORK 

Wands 

Explanation of Wand Positions. 

Carry Wand means wand perpendicular and resting 
against right shoulder, lower part (about ten inches from 
end) held between first two ringers and thumb of right 
hand. 

Wand Down means wand horizontal and at arm's length, 
down in front, hands clasping wand as far apart as arms 
are at shoulders, with back of hands front. 

Wand Overhead means wand clasped as in wand down, 
but held at arm's length and parallel with shoulders over 
head. 

Parade Rest means that one end of wand is placed on 
floor near ball of left foot, the other end of wand clasped 
with both hands near waist line — basic position, same as 
described under Parade Rest Position in Nomenclature. 

Exercises 

First Order 
Wand down. 

1. Wand to horizontal front, eight counts. 
Explanation. — On first count carry wand with both 
hands and extended arms to horizontal front ; on second 



VISIBLE EXPRESSION OR GESTURE 199 

coun return wand to position ; repeat the exercise through 
eight counts. 

2. Wand overhead and parallel with shoulders, eight 
counts. 

Explanation. — Follow' same order as in Exercise 1, ex- 
cept to overhead. 

3. Wand to chest, eight counts. 

Explanation. — On first count carry wand up to and 
parallel with chest, with elbows outward and above wand; 
on second count wand down. Repeat through eight 
counts. 

Wand overhead. See page 198. 

4. Wand down to chest, eight counts. 
Explanation. — On first count carry wand from overhead 

down to chest, elbows as in Exercise 3 ; on second count 
back to position over head. Repeat through eight counts. 

5. Wand downward, with forward trunk bending, eight 
counts. 

Explanation. — On first count carry wand forward and 
downward, with arms extended, bending body at hips, 
knees firm ; on second count straighten body and return 
wand to position overhead. Repeat through eight counts. 

6. Wand to shoulders, eight counts. 
Explanation. — On first count carry wand back of and 

parallel with shoulders ; on second count return it to posi- 
tion overhead. Repeat through eight counts. 

7. Wand to chest and back to shoulders alternating, six- 
teen counts. 

Explanation. — Wand to chest, as in fourth exercise, 
except alternating with wand to shoulders, as in sixth 
exercise. Repeat through sixteen counts. 

8. Wand to hips, eight counts. 

Explanation. — On first count extend right hand to 
extreme end of wand ; on second count do same with left; 
on third count extend wand horizontally backward and 



200 ADVANCED ELOCUTION 

downward to hips; on fourth count again to position 
overhead; on fifth count again to hips, repeating thus 
through eight counts. 

9. Wand forward with trunk bending, and backward to 
hips, sixteen counts. 

Explanation. — On first count carry wand forward and 
downward, as in fifth exercise; on second count wand to 
position overhead ; on third count same as in eighth exer- 
cise ; on fourth count overhead, repeating through sixteen 
counts. 

10. Wand perpendicular, with lateral trunk bending, 
sixteen counts. 

Explanation. — On first count bend trunk to right, at 
same time carrying wand from position overhead to per- 
pendicular on right side, right hand holding end of wand 
down at arm's length near thigh, left clasping other end of 
wand, with forearm above head, palm facing front; on 
second count straighten body and carry wand to position 
overhead ; on third count do same to left. Repeat the 
exercise through sixteen counts. 

11. Wand reversed overhead, eight counts. 
Explanation. — On first count carry one end of wand, 

with right hand, to front, overhead ; on second count 
carry the other end of wand with left hand to front, over- 
head. Reverse through eight counts. 
Wand down. 

12. Wand to chest with forearm flexion, eight counts. 
Explanation. — On first count bring wand horizontally 

to chest, elbows against intercostal muscles ; on second 
count wand down. Repeat through eight counts. 

Second Order 

Wand in carry position. See page 198. 

1. Wand perpendicular to chest, eight counts. 

Explanation. — On first count carry wand perpendicular 



VISIBLE EXPRESSION OR GESTURE 201 

at arm's length in front of chest, both hands (right under 
left) clasping lower end of wand ; on second count bring 
wand in to chest, elbows strongly outward. Repeat 
through eight counts. 

2. Wand perpendicular to shoulders, sixteen counts. 
Explanation. — With wand perpendicular at chest 

where it is brought at close of preceding exercise, on first 
and second counts, carry wand perpendicular in front of, 
and against right shoulder, right hand clasping wand at 
arm's length down at thigh, left hand fingers pressing 
wand against right shoulder ; on third and fourth counts 
do same reversely, changing hand position in front of 
chest. Repeat exercise through remaining twelve counts. 
Wand down. 

3. Wand overhead with foot crossing, sixteen counts. 
Explanation. — On first count carry wand parallel with 

shoulders at arms' length overhead, at same time crossing 
right foot over left, with toe-touch ; on second count, wand 
down, and foot to position ; on third count, wand again 
overhead and left foot over right ; on fourth count return 
to position. Repeat thus through eight counts. Then do 
same with one foot crossing back of the other through 
eight counts. 

4. Wand horizontal on shoulder blades with lateral 
charge, twenty-four counts. 

Explanation. — On first count carry wand to horizontal 
position on shoulder blades, elbows down near ribs, at 
same time charge directly to right with right foot ; on 
second count return to position, retaining wand on 
shoulder blades. Repeat the charge through eight counts ; 
then same to left, eight counts ; same alternating, eight 
counts. 

5. Wand on shoulder blades with forward and back- 
ward, trunk bending. 

Explanation. — On first count bend body forward and 



202 ADVANCED ELOCUTION 

downward, knees firm ; on second count recover position; 
on third count bend body backward ; on fourth count same 
as second. Repeat through eight counts. 

6. Wand on shoulder blades with lateral trunk bending, 
eight counts. 

Explanation. — Follow same order as in fifth exercise, 
except bending alternately to right and left. 
Wand down. 

7. Wand perpendicular to shoulders and horizontal over- 
head, sixteen counts. 

Explanation. — On first two counts carry wand per- 
pendicular to right shoulder, right hand clasping wand at 
arm's length downward at thigh, left clasping wand at 
right shoulder, palm of hand facing front ; on third and 
fourth counts wand horizontal overhead; on fifth and 
sixth counts perpendicular to left shoulder ; on seventh and 
eighth counts wand down. Repeat through remaining 
eight counts. 

8. Wand to horizontal front and overhead with foot 
placing. 

Explanation. — On first count carry wand at arm's 
length to horizontal front, at same time place right foot once 
its length forward ; on second count carry wand at arm's 
length overhead and backward, again placing foot once its 
length forward; on third count same position of wand 
and foot as on first count ; on fourth count wand down 
and foot to first position. Repeat through remaining 
four counts, then do same with left foot forward, eight 
counts. 

9. Wand horizontal to chest with front fall-out, eight 
counts. 

Explanation. — On first count carry wand horizontally 
to chest, and at same time step forward three times length 
of foot and fall-out; on second count wand down and 
recover position ; on third count step forward with left 



VISIBLE EXPRESSION OB GESTURE 203 

foot and recover position. Repeat thus through eight 

counts. 

10. Wand horizontal to chest with lateral arm exten- 
sion, sixteen counts. 

Explanation. — With wand to chest and elbows down 
on first two counts carry wand horizontally to right with 
right arm fully extended along barrel of wand and left 
hand clasping wand at chest ; on third and fourth counts 
do same to left. Alternate thus through sixteen counts. 

11. Wand perpendicular with knee rest and charge, 
sixteen counts. 

Explaxatiox. — On first count lunge forward with right 
foot and rest end of wand, which is clasped by right hand, 
on right knee, wand perpendicular, left hand clasping 
upper end of wand ; on second count bring wand down 
and return to position ; on third count do same oblique- 
front, right; on fifth count same to right lateral; on 
seventh count same oblique-back, right and return to 
position ; then do same reversely, eight counts. 

12. Wand oblique, with oblique-front charges. 

Explaxatiox. — On first count carry wand obliquely- 
back of trunk as far as arms can be extended, right hand 
clasping upper end of wand back of neck, and left 
clasping lower end of wand back of left thigh, at same 
time lunge to oblique-front right and hold attitude two 
counts, return to position, and bring wand down on fourth 
count. Eepeat exercise four counts Do same reversely, 
eight counts. 

Third Order 
Wand down. 

1. Wand horizontal with forearm rotation, sixteen 
counts. 

Explaxatiox. — On first count place wand with one 
hand back of and against waist ; then, on next two counts, 



204 ADVANCED ELOCUTION 

clasp ends of wand with both hands and rotate forearms 
through remaining thirteen counts. 

2. Wand reversed front of waist, sixteen counts. 
Explanation. — On first count carry wand horizontally 

with both hands from preceding position back of waist 
over head and down in front of waist ; on second and 
third counts change hand positions, bringing them within 
twelve inches of each other on the wand ; on fourth count 
reverse wand by placing right forearm along and over 
left forearm ; on fifth count reverse wand by placing left 
forearm along and over right forearm. Repeat thus 
through remaining sixteen counts. 

3. Wand horizontal overhead, with lateral lunge, 
twenty-four counts. 

Explanation. — On first count carry wand to horizontal 
overhead and toward right, at same time lunge to right 
twice length of foot ; on second count return to position, 
wand resting in horizontal position back of neck. Repeat 
through eight counts ; same to left, eight counts ; same 
alternating right and left, eight counts. 

4. Wand horizontal at shoulder blades, with arm-exten- 
sion downward, sixteen counts. 

Explanation. — On first count carry wand, with right 
hand only, backward to and horizontal with shoulder 
blades ; on second count grasp wand with left hand, back 
of hands facing front, thrust downward through remaining 
sixteen counts. 

5. Wand horizontal front and to chest, sixteen counts. 
Explanation. — On first count carry right hand from 

its preceding position at shoulder blades to end of wand, 
changing hand position so that palm faces front ; on sec- 
ond count similarly change left hand position ; on third 
count carry wand horizontally overhead, extending it 
at arm's length in front of chest ; on fourth count, with 
hands as far apart as arms are at shoulders, bring wand 



VISIBLE EXPRESSION OR GESTURE 205 

horizontally inward to chest, elbows down close to side. 
Repeat through remaining counts. 
Wand down. 

6. Wand overhead, with lateral trunk bending and rota- 
tion, thirty .-two counts. 

Explanation. — On first count carry wand horizontally 
"head ; on second count retain wand in same position, 
but rotate trunk to right; on third count bend trunk 
downward, with knees firm; on fourth count straighten 
body ; on fifth count do same as third ; on sixth count as on 
fourth ; on seventh count as on first ; on eighth count 
wand down. Repeat the exercise through eight counts, 
then do same reversely sixteen counts. 

7. Wand with arm extension forward and balance 
movement, sixteen counts. 

Explanation. — On first count carry wand at arms' 
length to horizontal front, at same time place right foot 
twice its length forward, with line of gravity in right foot; 
on second count sway line of gravity into backward limb 
and bring wand horizontally to chest, sway forward and 
backward thus through eight counts with a motion of body 
and arms somewhat like that used in rowing ; then place 
left foot forward and repeat exercise through eight counts. 

8. Wand perpendicular with balance movement and 
head turn, sixteen counts. 

Explanation. — On first count with hands at ends of 
wand, place the latter horizontally at shoulder blades ; on 
second count advance right foot twice its length toward 
oblique-right and bend trunk slightly in right hip, with 
head turned backward looking downward over right 
shoulder. Repeat through eight counts. Same reversely, 
eight counts. 

Stride position, wand doion. 

9. Wand perpendicular with right and left pivot, eight 
counts. 



206 ADVANCED ELOCUTION 

Explanation. — On first two counts, pivot on balls of 
feet, facing toward right, at same time carry wand per- 
pendicularly in front of and against right shoulder, right 
hand extended downward along barrel of wand, left hand 
grasping wand at right shoulder, palm facing front ; on 
next two counts pivot to left with wand perpendicular at 
left shoulder. Repeat exercise through remaining four 
counts. 

10. Wand perpendicular, w 7 ith front and back pivot, 
eight counts. 

Explanation. — Place right foot about six inches back 
of left, and pivot back directly to rear, via right, with 
wand perpendicular, as in preceding exercise ; then on 
next two counts pivot to front with wand to left shoulder, 
repeating through eight counts. 

11. Wand perpendicular with trunk rotation, eight 
counts. 

Explanation. — On first two counts carry wand to per- 
pendicular on outside of right shoulder, grasping wand as 
in Exercise 9, and rotating trunk to right, but head 
turned to left, looking over left shoulder ; on next two 
counts do same reversely ; alternate thus through eight 
counts. 

12. Wand perpendicular with forward and backward 
lunges, sixteen counts. 

Explanation. — With wand, trunk, and head as in pre- 
ceding exercise lunge with left foot three times its length 
over and beyond right foot, then on third and fourth 
counts lunge oblique-back, left, eyes looking over right 
shoulder. Repeat through four counts, then do same re- 
versely, eight counts. 



VISIBLE EXPRESSION OR GESTURE 



207 



Fourth Order 



Attitudes 



In the following order each attitude may be held eight 
counts, corresponding to one strain of music. The left 
foot is stationary, except as it pivots on ball of foot or rises 
on toes to accommodate the action of the other foot. 

Wand down. 

I 

Wand horizontal and at arms' length front, right foot 
fully twice its length forward and supporting body, left 
foot on toes, eyes looking front. 

II 

Wand horizontal and at arms' length over head, right 
foot carried four times its length backward from preced- 
ing position and supporting body, both feet on floor, 
knees firm, head back, eyes looking upward. 



Ill 

Wand perpendicular at right shoulder, 
left hand grasping w r and at right shoulder, 
palm facing front, right grasping wand at 
arm's length, down and against thigh, basic 
position retained from preceding attitude, 
eyes looking over left elbow. (Illus. I.) 

IV 

Same as preceding, except wand perpen- 
dicular to left shoulder, and eyes looking 
over right elbow. 




Illus. I. 



208 



ADVANCED ELOCUTION 




Illus. II. 



V 

With wand obliquely backward and up- 
ward, left hand grasping it at arm's length, 
right grasping it near left shoulder, charge 
to oblique-front right, also bending body 
strongly forward, eyes looking toward floor 
at point indicated by lower end of wand, 
villus. II.) 

VI 

With wand same as in preceding atti- 
tude, except at right shoulder, charge 
with fall-out and body-bend to oblique- 
front left ; this will carry right foot over 
and beyond left foot. 

VII 

With right hand grasping wand high overhead, and left 
grasping it back of and above head, wand pointing upward, 
charge right foot backward, eyes looking forward and down- 
ward. (Illus, III.) 

VIII 
With wand pointing 
forward and downward, 
left hand grasping it in 
front, and right hand re- 
taining it backward and 
high overhead, pivot on 
balls of feet via right 
until body faces to rear, 
eyes as in preceding atti- 
tude. (Illus. IV.) 

IX 

With one end of wand 
illus. in. held by both hands at in us . iv. 





VISIBLE EXPRESSION OR GESTURE 



209 



chest, pivot round to front, charge directly forward and 
kneel on left knee, at same time pointing wand about ninety 
degrees upward to oblique-front right, right hand extended 
at arm's length along barrel of wand, hold attitude through 

eight counts, then without rising 
direct wand to oblique-front left, 
hold eight counts, and rise to feet. 

X 

With right hand grasping wand 
at right hip, and elbow well back, 
left hand supporting wand, at 
nearly arm's length front, charge 
directly backward with right foot, 
left knee flexed, right one firm, 
eyes looking forward in direction 
indicated by wand. (Illus.V.) 

XI 

Retain wand position as in preceding attitude and charge 
directly forward without body turn, knees firm. 

XII 

Bring wand to cany, and feet to fundamental position. 




Dumb-Bells — Wooden 

Note.— The three-quarter pound bells may be used by ladies, 
the pound bells by gentlemen. 

Rest Positions with Bells 

1. Bells on hips. 

2. Bells down — that is, arms down at side, palms toward 
thighs, unless otherwise indicated. 

3. Bells down and back of thighs, one bell crossing the 
other and clasped by both hands, feet in parade rest posi- 
tion. See page 177. 

14 



210 ADVANCED ELOCUTION 

Time. Unless otherwise indicated, use the last one or 
two counts of each exercise for passing from one exercise 
to the next throughout each order. This is especially- 
necessary where music is used. 

Exercises 
First Order 

1 . Bells vertical and front, forearm flexion and rotation. 
Explanation. — With elbows against intercostal muscles, 

forearms directly forward and palms facing each other, turn 
bells with backs of hands downward seven counts, leaving 
eighth count to carry bells to next position. 

2. Bells horizontal at shoulders, with forearm flexion 
and rotation. 

Explanation. — With elbows as in preceding, and palms 
near to and facing shoulders turn bells, with palms facing 
front, seven counts. 

3. Bells down, with arm rotation. 

Explanation. — With back of hands facing front, turn 
bells outward till palms of hands face front, bells close to 
thighs, turn through seven counts ; on eighth count carry 
bells vertical to chest. 

4. Bells to horizontal lateral, with arm rotation. 
Explanation. — With arms extended to horizontal lateral 

and palms facing upward, turn bells, palms dowmward, 
seven counts ; on eighth count again to chest. 

5. Bells horizontal overhead, with arm rotation. 
Explanation. — With arms extended overhead and 

palms facing front, turn bells with backs of hands front, 
seven counts. On eighth count, bells to chest. 

6. Bells horizontal front, with arm rotation. 
Explanation. — With arms extended directly front and 

palms upward turn bells (palms downward), seven counts ; 
on eighth count bells to hips. 



VISIBLE EXPRESSION OR GESTURE 211 

7. Bells oblique with alternate knee flexion. 

Explanation. — With right arm extended to right and 
midway between horizontal and perpendicular, holding 
bell with palm upward, and left arm extended on same 
line downward, holding bell with palm downward, 
charge directly to right, and flex right knee; on second 
count flex left knee, alternating knee flexion thus 
through seven counts. Return to position and do same 
reversely. 

S. Bell thrust from shoulder with lateral trunk bend- 
ing. 

Explaxatiox. — With left bell on hip bend trunk to 
left, and with right bell at shoulder, palm facing inward 
toward neck, thrust bell upward seven counts, return to 
position and do same reversely. 

9. Bells vertical on chest with chest expansion. 
Explaxatiox. — With bells lying side by side on chest 

carry elbows backward, flattening shoulder blades and 
expanding chest seven counts. 
Stride position — bells on shoulders. 

10. Bells to perpendicular with heel elevation. 
Explaxatiox. — With bells as indicated, separate feet 

about six inches, then thrust bells upward, palms facing, 
at same time rising on toes. Repeat through seven 
counts. 

Bells down and heels closed. 

11. Bells to horizontal lateral with knee flexion. 
Explaxatiox. — Carry bells upward to shoulder-high, 

palms down, at same time flexing or bending knees and 
rising on toes. Repeat through eight counts. 

12. Attitude. 

Explaxatiox. — On first two counts remain in funda- 
mental position ; on third count step diagonally forward 
to right and fall-out, with right bell on hip and left bell 
extended at arm's length, oblique-back to left, halfway 



212 ADVANCED ELOCUTION 

between perpendicular and horizontal, palm upward, head 
turned, eyes looking at left bell ; hold attitude through 
five counts, retur i to position on eighth count, and do 
same reversely through eight counts. 



Second Order 

Bells vertical on chest. 

1. Bells with arm-sweep from lateral to front. 

Explanation. — On first count draw right arm back- 
ward from chest and outward to horizontal lateral, bell 
vertical ; on second count forward to horizontal front and 
inward upon chest; repeat through eight counts. Do 
same with left arm. 

2. Bells with arm-sweep from front to lateral. 
Explanation. — On first count extend right arm to 

horizontal front, bell vertical ; on second count extend 
right arm outward to horizontal lateral and inward upon 
chest; repeat through eight counts. Do same with left 
arm. 

3. Bells with arm extension and trunk rotation. 
Explanation. — On first two counts rotate trunk to 

right, extending right bell at arm's length forward, bell 
vertical ; third and fourth counts rotate trunk to left, ex- 
tending left bell forward and bringing right bell in upon 
chest. Repeat the exercise through eight or sixteen 
counts. 

Bells on chest. 

4. Bells clasped with trunk bending. 
Explanation. — To clasp the bells draw them vertically 

together upon the chest, interlocking the fingers of both 
hands. With bells thus clasped, on first two counts, ex- 
tend bells downward at arms' length near right knee, 
bending trunk ; on third and fourth counts describe a half 
circle overhead and then bend downward in same way to 



VISIBLE EXPRESSION OR GESTURE 213 

left, then overhead again to right, repeating thus through 
either eight or sixteen counts. 
Us on hips. 

5. Bells to perpendicular with short step. 

Explanation. — On first two counts remain in posi- 
tion : on third count advance one foot-length toward 
oblique-front right, at same time bring bells to shoulders, 
and thrust at arms' length to perpendicular, palms 
facing each other: on fourth count return bells to 
shoulders : on fifth count again to perpendicular and 
so on until eighth count, when return to position. 
Then do same oblique-front left, then same oblique- 
back right, without turning body, then same oblique- 
back left. 

Bells don: a. 

6. Bells pendant overhead with lateral fall-out. 
Explanation. — On first count carry left bell to hip and 

extend right bell to horizontal lateral, palm down ; on 
second count step to left, body facing front and fall-out, 
at same time swing right bell forward and upward 
overhead, and pendant ; on third count, bell and position 
are same as in first count ; on fourth count, bell down. 
Repeat exercise through remaining four counts. Then 
do same in reverse* order. 

7. Bell alternately from chest to shoulder w T ith head 
rotation. 

Explanation. — On first two counts place left bell on 
left hip and right bell vertical on left chest, head 
turned to right; on next two counts swing right bell 
downward and outward to lateral, and in upon right 
shoulder, elbow' outward, at same time rotate head to 
left ; on fifth and sixth counts return right bell to left 
chest, and head turned to right. Continue the exercise 
through sixteen counts, recovering position on last two 
counts. Do same reversely sixteen counts. 



214 



ADVANCED ELOCUTION 




lllus. VI. 



Bells down. 

8. Bells with foil exercise. 

Explanation. — Remain in 
position two counts ; on third 
count carry right bell to hori- 
zontal lateral, palm upward, 
and left bell overhead with 
hand pendant, at same time 
lunge three foot-lengths to 
right; on fourth count re- 
cover position ; repeat the 
exercise through remaining 
four counts. (Illus. VI.) Then 
do same in reverse order eight 
counts, then same, alternating 
right and left, eight counts. 
Bells vertical on chest. 

9. Bells to horizontal front with knee flexion. 
Explanation. — Remain in position two counts ; on third 

count place right foot twice its length forward to oblique- 
right, knee flexed, at same time carrying bells to hori- 
zontal front, palms facing each other ; on fourth count, 
flex left knee and straighten right knee, carrying bells to 
horizontal lateral and vertically in upon chest ; on fifth 
count do same as on third ; on sixth, same as on fourth ; 
on seventh as on third, and return to position on eighth 
count. Then do same oblique-front left. 

10. Bell thrust from chest with oblique-back fall- 
outs. 

Explanation. — Remain in position on first two counts ; 
on third count place right foot twice its length, oblique- 
back right and fall-out, at same time thrusting right bell to 
horizontal front ; on fourth count thrust left bell forward 
and carry right bell in upon chest ; alternate thus through 
remaining three counts, returning to position on eighth 



VISIBLE EXPRESSION OR GESTURE 



215 



count. Then do same reversely. Body should face 
toward oblique-front in this exercise. 
Bells down. 

11. Attitude. 

Explanation. — Stand in position 

two counts, then pivot on ball of left 

foot directly to left, at same time step- 
ping back to right with right foot, right 

limb supporting body, knee flexed, left 

knee firm ; place right bell on right 

hip and left bell on chest near right 

shoulder, eyes looking outward over 
left shoulder, re- 
turn to position 
on eighth count. Illus - YIL 

(Illus. VII.) Do same reversely. 
12. Attitude. 

Explaxatiox. — Place right foot twice 
its length, oblique-front right, and carry 
left bell vertically back of neck and right 
bell vertically back of waist, support 
body on left limb, knee flexed, at same 
time bend obliquely-back in left hip, 
return to position on eighth count, and 
do same reversely. (Illus. VIII.) 





Illus. VIII. 



Third Order 

Attitudes and Exercises 

In all attitudes of the third order use for each attitude 
eight counts, in this way : Stand in fundamental position 
during first two counts, then assume attitude, holding the 
same through five counts ; recover position on eighth count. 
The charges should be fully three times the length of the 
foot. 



216 



ADVANCED ELOCUTION 




Illus. IX. 



Arms down. 
Attitudes. 

Explanation. — On third 
count charge three foot- 
lengths to oblique-front 
right, at same time extend 
right bell at arm's length 
forward and upward, and on 
line with body, palm up- 
ward, and left bell on same 
line downward, palm down- 
ward, eyes looking upward 
at right bell. (Illus. IX.) 
Hold attitude through five counts, 
return to position on eighth count. 
Do same reversely. Recover position 
and charge same distance oblique- 
back right, right limb supporting, 
but knee flexed, left knee firm, right 
arm extended downward, outward, 
and backward, palm downward, left 
hand clasping bell near forehead, 
palm facing front. (Illus. X.) Hold 
five counts, recover position on 
eighth count, and do same reversely. 
Bells on shoulders, palms downward, 
elbows outward. 
Exercise. 

Explanation. — Carry right bell via lateral, palm facing 
outward, downward to thigh, four counts, then do same 
with left, four counts, same alternately, four counts, 
same simultaneously, four counts. Repeat in same 
order to horizontal lateral, then to vertical, palms fac- 
ing inward, then to horizontal front, palms facing up- 
ward. 




Illus. x. 



VISIBLE EXPRESSION OR GESTURE 



217 





Illus. XI. 



Arms down. 

Attitudes. 

Explanation. — Charge three times 

length of foot to right, right knee flexed, 

left knee firm, at same time right arm 

to vertical, hand grasping bell with 

palm facing outward and upward, left 

bell on hip, head well back, eyes look- 
ing at right bell (Illus. XI) ; do same re- 
versely. Then charge oblique-back right, 

bells to hips and head turned, to left 

(Illus. XII) ; do same reversely. 
Arms dozen. 
Exercise. 

Explaxatiox. — Extend right bell 
to horizontal lateral, palm downward, 
four counts, left, four counts, then 
alternately, four counts, then both, 
four counts, then follow same order 
with bells to vertical, palms facing 
outward, then follow same order to 
horizontal front, then same order 
carrying bells 
to armpits. 
mas. xii. ^T" Attitudes. 
Explaxatiox. — Charge with right 

foot toward oblique-front right, knee 

flexed. at same time extend both bells 

forward and downward, palms facing 

each other, then quickly draw left 

bell to shoulder, elbow back, eyes 

looking forward and downward in 

direction of right bell. (Illus. 

XIII.) Do same reversely, then 

follow same order, charging oblique- ni us . xni. 




218 



ADVANCED ELOCUTION 



back right, but with arm extension forward and upward, 
then same oblique-back left. 

Bells ivith one lobe resting on chest, the other extended for- 
ward. 
Exercise. 

Explanation. — Carry right bell via front down to side, 
four counts, then do same with left, same alternating, 
then both same. Follow this order with bells to horizontal 
lateral, palms facing upward, then to 
vertical, palms facing inward, then to 
horizontal front, bells vertical. 
Bells down. 
Attitudes. 

Explanation. — Hold position two 
counts, charge to oblique-front right, 
right knee flexed, left knee firm, trunk 
well forward, bells vertical and rest- 
ing on back of neck, e^yes looking 
downward. (Illus. XIV.) Do same 
reversely, then follow same order 
oblique-back right with bells on right 
shoulder, head turned toward oblique-front left. Do same 
reversely. 




Illus. xiv. 



Fourth Order 
Striking Bells 

1. Stand in parade rest position eight counts. 

2. Assume fundamental position, and salute with right 
bell. This is done in four counts, and by carrying right 
bell to left shoulder, palm of hand facing outward, then 
sweep arm outward and downward to side. Then hold 
fundamental position, another four counts. 

3. Forearm exercise, with alternating stroke on alter- 
nating bell lobes. 



VISIBLE EXPRESSION OR GESTURE 



219 



Explanation. — With elbows close to intercostal muscles 
and forearms extended forward, right palm downward 
and left upward, strike inner lobes of bells, one count, 
then reverse hand position, striking the other lobes, alter- 
nate thus through six counts; use remaining two counts 
for assuming next position. 

4. Striking bells over and under, sixteen counts. 

Explanation. — Carry left bell to hori- 
zontal front, bell vertical; at same time 
place right bell above and near right 
shoulder, lower lobe almost touching 
shoulder. On first count sweep right 
bell upward, forward, and downward 
striking upper lobe of left bell. (Illus. 
XV.) As soon as the left bell is 
struck, sweep left arm downward and 
backward and then upward, and on 
second count near top of left shoulder, 
right bell taking the horizontal front 
position. Alternate the sweep of arms 
and striking of bells thus through eight 
counts. Then reverse the order by alter- 
nating sweep of arms backward and down- 
ward and front, and striking the lower lobe of bell under- 
neath. Repeat through eight counts. 

5. Striking bells over and under, eight counts. Same 
as preceding, except right bell is struck over once, then 
left over once, then right under once, then left under once. 

Arms dozen, 

6. Striking bells with toe-touch, eight counts. 
Explanation. — On first count sweep bells outward, 

then high overhead striking inner lobes of bells to- 
gether, and at same time extending right foot two or three 
inches toward oblique-front right, toe only touching floor; 
on second count return to position. Repeat through four 




Illus. xv. 



220 ADVANCED ELOCUTION 

counts, then do same with left toe-touch, but on fourth 
count assuming position for next exercise. 

7. Repeat Exercise 5. 
Arms down. 

8. Repeat Exercise 6 with toe-touch oblique-back, right 
and left. 

9. Repeat Exercise 5. 

10. Striking bells front and back of thighs, eight counts. 
Explanation. — On first count carry bells downward 

and at arms' length front, striking inner lobes together ; 
on second count strike bells together back of thighs, palms 
down. Repeat through seven counts. 
li. Repeat Exercise 5. 

12. Striking bells overhead and back of thighs, eight 
counts. 

Explanation. — This exercise is same as Exercise 10, 
except that bells are struck overhead instead of front of 
thighs. 

13. Repeat Exercise 5. 

14. Striking bells with lateral lunge, eight counts. 
Explanation. — On first count lunge to right, extending 

right bell horizontally at arm's length in same direction, at 
same time striking it on side of upper lobe with left bell, 
thumb-lobe of left bell downward ; on second count swing 
line of gravity into left limb, bending left knee, straighten- 
ing right one, and sweeping left arm strongly backward, 
then upward and forward, striking right bell, which should 
be kept stationary through the exercise. Recover posi- 
tion on eighth count. 

15. Repeat Exercise 5. 

16. Repeat Exercise 14 reversely. 

17. Repeat Exercise 5. 

18. Striking bells with right and left pivot. 
Explanation.— On first count pivot to right : on second 

count sweep bells upward from side, striking inner lobes 



VISIBLE EXPRESSION OR GESTURE 221 

ether overhead : on third count strike bells together at 
arms' Length downward in front of thighs, palms facing 
front. Repeat through seven counts, then phot to left, 
repeating exercise on left side. 

19. Repeat Exercise 5. 

20. Striking bells with knee support, sixteen counts. 
Explanation. — On first count place right foot once its 

length forward with lower lobe of left bell resting on right 
knee, which should be slightly bent; on second count 
swee*p right arm over shoulder as in Exercise 4, striking 
upper lobe of left bell. Repeat through seven counts, 
recover position, and do same reversely. 

21. Repeat Exercise 5. 

22. Repeat Exercise 3. 

23. Repeat Exercise 5. 

24. Repeat Exercise 4. 

25. Parade rest position. 



jESTHETICAL gymnastics 

" Grace is to the body what good sense is to the mind."— Rochefoucauld. 

.Esthetical gymnastics contribute both to health and 
grace. While largely instrumental in promoting the 
former, they are especially valuable in rendering the mus- 
cles pliable and in giving proper direction and control to 
the nerve force, thus fitting the whole physique to become 
a suitable agent of expression. Grace is the result of equi- 
librium, and equilibrium results from perfect balance or 
poise, therefore it follows that any one not physically 
deformed may be able to secure this muscular control, and 
that no one need sit, stand, or move in an awkward way. 
Grace is charm of manner, is above personal adornment, 
and may be considered a desirable inheritance. It is one 
of Nature's best gifts to the human race. It must not, 



222 ADVANCED ELOCUTION 

however, be confounded with affectation ; the two are 
antipodal. A few persons retain this gift of grace from 
childhood, but the vast majority lose it through the arti- 
ficialities and incumbrances of environment. 

That pliancy may be secured it is first necessary to rid 
the body of undue rigidity ; hence certain relaxing exer- 
cises are necessary. 

In these, as well as in the energizing exercises, the so- 
called Delsarte exercises are largely utilized, as it is believed 
there are none more valuable for attaining the end sought. 

Note. — Exercises upon the same plan were introduced a century 
ago by Engel, a German writer, but Madame Geraldy, the daughter 
of Delsarte, when in America in 1892, declared that these exercises 
were not a part of her father's philosophy, nor did he make any 
use of them in his course of instruction. It would seem, however, 
that credit is due to Mr. Steele Mackaye for the fundamentals at 
least of this class of exercises, as he certainly was the first to 
utilize them in this country. 

Relaxing Exercises * 
For Fingers 

1. Elbows near intercostal muscles, hands near waist, 
left hand lying relaxed upon tips 
of fingers of right, thumb of right 
in palm of left; in this position 
continue to shake left fingers with 
right hand a number of times, 

then shake right fingers in same manner. 

2. Same as preceding, except palm of relaxed hand 
is turned inward toward chest. 

3. Palm of left hand turned to- 
ward earth and resting upon tips of 5. 
right finger, thumb of right on back 
of left. Shake as above indicated. 





*By relaxing is meant the removal of nerve force or tension fro 
of muscles. 



VISIBLE EXPRESSION OK GESTURE 223 

4. Relax fingers, separate hands three or four inches, 
palms facing, and shake fingers with quick fluttering 
motion inward and outward. If this exercise is properly 
executed, it will be found that the centre of action is in 
the partial rotation of the radius, and may be detected by 
touching its point of attachment at the elbow. 

For Hands 

1. With right hand relaxed from finger-tips to wrist and 
unsupported, palm toward earth, shake upward and down- 
ward and inward and outward. Left same. Both same. 
Both alternating. 

2. With elbow extension six or eight inches outward, 

and palms facing chest, follow same order as in preceding 

exercise. 

For Forearm 

1. Raise elbow outward about halfway to shoulder-level, 
right forearm and hand pendulous and relaxed. Shake. 
Same with left forearm. Same with both. 

2. Extend entire right arm at shoulder-level front, then 
relax forearm and hand, letting them fall, and vibrating 
until motion ceases. Do same with left arm. Same with 
both arms. Be careful that shoulder is not thrown out 
of its natural position in this exercise. 

For Entire Arm 

1. Arms downward at side. Relax to shoulder. Shake 
right arm. Shake left. Shake both. 

2. Bend trunk slightly downward to right and extend 
right arm to horizontal front, then relax to shoulder, 
letting arm fall, vibrating of itself until motion ceases. 
Do same left, 

3. Extend arms to vertical, withdraw energy in quick 
succession from finger-tips to shoulder — arms will fall 
relaxed at side. 



224 ADVANCED ELOCUTION 

For Ankles 

Raise right foot slightly forward and without touch- 
ing floor, relax to ankle and shake. Same left. 

For Leg 

Note. — Both leg and thigh exercises should be done by standing 
upon a step, platform, or other solid elevation, in order to extend 
foot downward and to have it free from incumbrance. 

1. According to above suggestion relax right limb to 
knee and shake. Same left. 

2. Carry right foot forward and upward with knee 
flexion, relax muscles and let foot fall downward. Same 
left. 

For Entire Limb 

1. Standing as above indicated, shake entire limb, first 
the right, then the left. 

2. Raise limb forward, remove energy and let limb fall 
with pendulous action until motion ceases. 

For Head and Neck 

1. Close eyelids and relax muscles of neck, allowing 
head to fall on chest, gently carry head to position; 
relax muscles of neck, allowing head to fall backward, 
on spine, return head to position, then let head fall toward 
right shoulder, then toward left shoulder. 

2. Allow head to fall forward on chest, then sway trunk 
so as to let head roll to right shoulder, then back on 
spine, then to left shoulder, and forward again to chest, 
and gently lift to position. 

For Trunk 
1. First relax by letting head fall forward to chest, 
then relax in shoulders and chest and allow trunk to 
fall lifelessly forward and downward, head leading, 



VISIBLE EXPRESSION OR GESTURE 225 

without bending knees; slowly rise to position first by 
energizing hips ; second, shoulders and chest, and lastly 
head. Then follow same order backward with slightly- 
bent knees, and heels separated four or five inches, to 
relieve any undue strain on spine. Do not relax beyond 
a point of ease. Lift trunk to position. Do same to 
right, same to left. 

2. Let head and trunk fall forward, as in preceding 
exercise, then to right, then back on spine, then to left and 
front, the carrying impulse proceeding from the lower 
limbs. 

Note. — The exercises of the head and trunk, relaxing and 
energizing, while not the. most pleasing, are nevertheless of great 
importance, as they have to do with the vital organs. Especially 
are they of value to persons in middle life, when the muscles are 
apt to be stiffened or set. If these exercises prove too severe they 
can be done by sitting on a stool, the feet resting upon the floor. 

For Entire Body 

Place one foot about one and one-half times its length 
in rear of the other, with heel of advanced foot on line 
with instep of back one, toes at right angles, then bend 
knee of back limb, inclining trunk forward, and head 
on line with back limb, then bend both knees until hip 
on side of back limb is near to floor, relax muscles and 
body will sink to floor. This is an excellent exercise, 
but should first be practiced by falling upon lounge or 
soft cushions. 

Energizing or Fundamental Exercises 

Upon the flexibility of the wrist in its rise and fall, the 

rotation of the forearm and circumduction and rotation 

of the whole arm depends the flowing, graceful motion 

of the entire arm. To attain this, practice the subjoined 

15 



226 ADVANCED ELOCUTION 

fundamental exercises slowly and evenly, many times; 
fir3t with one arm, then the other, then with both. 

For Wrist 

Raise hand pendant (hanging relaxed from wrist), to 
front, near chest, elbow nearly on level with wrist, allow- 
ing finger-tips of one hand to rest in palm of the other. 
From this position lower entire arm by depressing sup- 
ported hand at wrist. 

For Forearm 

With finger-tips near shoulders, hand pendant and 
turned inward, elbow near side, rotate forearm until fingers 
are turned front, hand remaining pendant, then carry 
forearm forward and downward to side, wrist leading. 
Repeat same exercise in different altitudes and in differ- 
ent directions from front. 

For Upper Arm 

With arm hanging relaxed at side, back of hand toward 
thigh, rotate arm at shoulder until palm of hand faces 
front. With forearm and hand pendant and relaxed ro- 
tate upper arm at various altitudes and in various direc- 
tions from the front. 

For Entire Arm 

With arm down as in preceding exercises, rotate upper 
arm, at same time carrying elbow forward, then raise fore- 
arm with hand relaxed and pendant, until finger-tips are 
near shoulder, same time lowering elbow, then energize 
forearm, at same time extending it forward, lastly ener- 
gize and extend hand forward, palm upward. Again fold 
hand inward toward wrist, then carry forearm relaxed and 
inward, with lowered elbow and with finger-tips again 



VISIBLE EXPRESSION OR GESTURE 227 

near shoulders, then raise elbow sufficiently to permit 
hand to descend to side. Practice in various altitudes, 
and in various directions from the front. 



Regular Exercises 
For Arm and Hand 

Position*. — Stand with heels closed, toes out at usual 
angle — that is, about sixty degrees — line of gravity falling 
between balls of feet, entire body erect, without rigidity, 
shoulders and hips in line, but free to move ; vital organs 
high, arms pliant and down at side. All these exercises must 
be executed slowly, evenly, and rhythmically. In these 
exercises in all motions of the arm, as it rises from the side 
except one, whether the altitude to which it is lifted be 
great or little, the movement must be executed with hand 
pendant and relaxed from wrist, and conversely in all the 
movements downward from any altitude to any point 
below, the hand should be energized, with palm turned 
outward and finger-tips upward, the wrist leading. If the 
fundamental exercises have been properly practiced, the 
regular exercise can be readily attained ; if not, awkward- 
ness and rigidity are sure to follow. 

1. Carry one arm frontward and upward to shoulder 
level; as arm assumes this position energize hand and 
return arm by same track to side. Do same with other 
arm, then same with both. Then follow same order 
oblique-front and lateral. 

2. Same as preceding, except raising arm to vertical. 

3. Same as Exercise 1, except that one arm precedes the 
other in the movement ; thus, making an opposition ex- 
ercise — that is, when one arm reaches shoulder level and 
is returning to side, the other is moving up to shoulder 
level, and so on continuously throughout oblique-front and 
lateral. 



228 ADVANCED ELOCUTION 

4. Same as preceding exercise, except that arm rises to 
vertical. 

5. Raise arm to shoulder level, lateral, energize wrist 
and turn it in a radius of half circle, until palm faces 
outward, finger-tips backward. Then, with wrist leading, 
carry arm to horizontal front ; with wrist again leading, 
but bent outward, carry arm again to horizontal lateral; 
repeat at will, then let arm float downward to side. Do 
same with other arm ; same with both. Repeat the 
exercise in various depths and heights from shoulder 
level. 

6. With both arms extended to right, hands at hip-level 
and wrists leading as in preceding exercise, carry hands to 
hip-level, left, then again to right ; continue repeating the 
exercise, each time at greater altitude, until hands move 
on level with head. In executing this movement note 
that the wrists are in opposing positions. 

7. With arm and hand in flowing motion trace in space 
the figure eight thu3 : 8, and thus 00, through three or 
more continuous movements from front to lateral in 
various altitudes with each hand ; with both hands. Out- 
line in similar manner ellipticals and circles, large and 
small. 

8. Raise arm to vertical and describe through space a 
descending spiral. Be careful that elbow descends with 
each lowering movement of arm, keeping arm near body ; 
when hand reaches shoulder level extend arm to lateral 
and then down to side. 

9. With right arm describe a full circle from left to 
right, then continue the spiral upward, narrowing it each 
time a circle is made, when finally all motion may cease ; 
the hand and index finger for a moment remaining rigid, 
then let arm float outward and downward to side. Do 
same with left. Follow the same order of exercise to 
horizontal front, then to horizontal lateral. 



VISIBLE EXPRESSION OR GESTURE 229 

10. Raise arm to horizontal front, and with three undu- 
lating motions carry it to lateral. If done properly the 
hand will seem to float "as a feather is drifted down- 
ward." From this similarity the exercise is sometimes 
designated the Feather Movement. Repeat at will with 
one hand, with both hands, and in varying altitudes. 
Similarly to the preceding trace varying forms of water 
waves. 

11. Carry pendant hand to horizontal front, then as 
hand is energizing draw upper arm partially backward ; 
again extend hand forward with finger-tips upward, 
palms facing front, at same time turn hand through half 
circle until finger-tips point downward, palm facing front, 
fold hand inward and relaxed toward wrist, carry elbow 
downward, folding forearm inward until finger-tips are 
near shoulder, raise elbow and allow hand to move in 
front of shoulder downward to side, then raise arm again 
as before, and repeat the exercise at will. Practice in 
various altitudes, and in various directions from front to 
lateral. This exercise, from the graceful motion of one 
part of the arm with that of another, is sometimes called 
the Serpentine Movement. 

12. Bring extended arm and energized hand, with palm 
supine, to horizontal front, then lower elbow and bring 
hand inward until wrist almost touches shoulder, relax 
hand and fold it inward, at same time raising elbow, 
then energizing hand in front of shoulder, cany it 
with decided motion oblique-back to right, at shoulder 
level, palm downward, index finger strong, then let 
arm float downward to side. Repeat in different alti- 
tudes. 

13. A very beautiful and graceful exercise is that of 
carrying imaginary gossamer threads through space and 
delicately attaching them with one or both hands to 
fancied objects in various altitudes and directions from 



230 ADVANCED ELOCUTION 

the body, stepping, bending, and tiptoeing to accomplish 
the object. 

Note. — Combinations may be made from parts or all of the pre- 
ceding exercises. They are valuable not only for the control of 
nerve force and muscle, but also as affording opportunity for the free 
play of the imagination. 

For Head and Neck 

The head and neck exercises, though necessarily few, 
are none the less valuable. They strengthen and develop 
the chest muscles, they correct the stoop in shoulders so 
prevalent among students and those of sedentary habits, 
and conduce to graceful contour of neck and noble 
carriage of head. 

1. From its normal position — that is easily erect, in- 
clined neither to right nor left, nor up nor down — carry 
head slowly and evenly forward to chest and back again 
to position. Do same backward, same to right, same to 
left. 

2. Lower head about one-third of distance to chest, and 
in this position carry it toward right shoulder, then turn 
face upward, bringing back of head toward left shoulder, 
then bow head downward to former depression at right 
shoulder, again front, and back to position. Do same to 
left. Repeat the exercise with head two-thirds of distance 
to chest. Repeat the exercise with head carried down- 
ward upon chest. 

3. Carry head forward and downward to chest, rotate to 
right shoulder, again turn face upward w T ith back of head 
on left shoulder, slowly rotate head until it rests upon 
right shoulder, then carry face downward to left shoulder, 
and rotate head to front, and lift to position. Do same 
reverse order. 






VISIBLE EXPRESSION OR GESTURE 231 

Opposition Eaercises 

For Head and Hands 

1. With arms down bring right hand inward upon 
chest, same time bowing head. Slowly return both to 
position. Do same with left hand and head, same with 
both hands and head. 

2. Bring right hand to chest, then turn head to left, 
at same time carrying right hand aversely to horizon- 
tal right lateral ; return hand to chest and head to 
position. Turn head to right and right hand aversely 
to left. Do same reversely. Do same with head to 
left and both hands aversely to right, and repeat in re- 
verse order. 

3. With right hand pendant, carry arm forward and 
upward at full extension overhead, at same time bowing 
head, then energize hand, palm facing front, index finger 
strong. Reverse the order by carrying hand downward 
and face turned upward. Then do same with head and 
left hand. 

4. 1st, — Bring right hand pendant via front overhead, 
at same time head to chest, then energize hand, palm 
facing front. 2d. — Reverse position of hand and head. 
3d. — Carry head to normal position and bring right hand 
upward and pendant to horizontal lateral. 4th. — Return 
head and right hand to chest. 5th. — Oppose each by 
carrying hand averse to right and head bowed to left. 
6th. — Let right hand float downward to side and simul- 
taneously bring left hand, palm supine, and arm extended 
lateral, upward and inward until palm of hand rests upon 
back of head. 7th. — Raise left hand upward and out- 
ward, permitting it to float downward to side, at same 
time turn face upward until back of head rests midway 
between spine and right shoulder. 8th. — Carry hands 



232 ADVANCED ELOCUTION 

pendant upward to horizontal lateral, at same time rotat- 
ing head to right until the back of head rests on spine. 
9th. — Rotate arms until palms of hands are supine. 
10th. — Bring head and hands to chest. 11th. — Head 
back again on spine, at same time elbows rising upward. 
12th. — Unfold arms, extending them upward, oblique- 
front, hands supine, 13th. — Arms to lateral and float- 
ing downward to hip-level and head to normal posi- 
tion. 14th. — Circle arms inward to oblique-front, then to 
lateral, palms facing front, and lastly, let them float 
downward to side. Do same reversely. Practice this 
exercise until its various parts are as one connected 
whole. 

For Trunk 

1. With arms down, depress head to chest, then 
lower trunk at shoulders and finally in hips, draw- 1 
ing head and trunk as close to lower limbs as contour 
of body will permit. Assume normal position. Bend 
similarly to right, left foot rising at heel. Same to 
left. 

2. With hands well back on hips, feet separated twelve 
inches at heels, knees relaxed, head resting on spine 
slowly bend trunk backward to any point easily attained. 
Do not overdo. 

3. With arms down and right foot advanced once its 
length toward oblique-front right, bend trunk downward on 
line with right knee. Do same reversely. 

4. With hands again on hips and right foot, once its 
length, oblique-back right, bend trunk backward on line 
with right heel. Do same reversely. 

For Lower Limbs 

1. With heels closed and toes at usual angle, carry line 
of gravity forward to toes and backward to heels, taking 



VISIBLE EXPRESSION OR GESTURE 233 

care not to bend or tip the body. Repeat a number of 
times. 

2. Separate heels about ten inches, carry line of 
gravity to right side of ball of right foot, then to left 
side of ball of left foot. Again to right, then forward 
to toes and to left and back to heels. Repeat several 
tin i' 

3. With heels closed, rise slowly upon balls of feet. 
Hold position while counting ten, fifteen, twenty, or 
more. 

4. Rise as before, then slowly bend knees, permitting 
body to come to sitting posture on heels. Hold position 
as in preceding. 

5. Separate heels as in Exercise 2, with line of gravity in 
right foot slowly pivot on balls of feet to left. Then with 
line of gravity in left foot pivot to right. Repeat several 
times. 

6. Do same with one foot once its length, in advance of 
the other, pivoting to rear. 

7. Place right foot once its length, oblique-front right 
and with line of gravity centered in ball of foot ; left 
foot on toe, heel falling inward toward heel of right. 
Standing thus, count ten, twenty, or more. Do same 
reversely. 

8. Place right foot once its length oblique-back, right, 
line of gravity and heel as indicated in Exercise 7. Count 
as before. Do same reversely. 

9. Advance right foot once its length forward, line of 
gravity as in Exercise 7. Left foot on toe, with hollow of 
foot toward heel of right. Count as before. Do same 
reversely. 

10. Carry right foot once its length backward, with line 
of gravity centered in ball of right foot, toes pointing to 
right, hollow of foot toward heel of left. Count as before, 
and do same reversely. 



234 



ADVANCED ELOCUTION 




For Entire Body 

Exercise 1. — Place left foot once its length 
back of right foot, then place hands one upon 
the other on chest, at same time bowing head ; 
next carry head backward upon spine, then 
carry right hand forward and upward to ver- 
tical with palm facing front, at same time 
bring head to normal position, and sway line 
of gravity forward into right limb, then bring 
right arm forward and downward to middle 
realm, then both arms outward and down- 
ward to side, at same time carrying line of 
gravity into left limb. 

2. Imperceptibly advance 
right foot once its length to 
oblique-front, right, then bring head and 
hands to chest, then carry hands aversely, 
midway between shoulder level and per- 
pendicular to right lateral, at same time 
turning head over left shoulder to oblique- 
left backward, bending strongly in left hip 
and knee. Kecover position and do same 
reversely. 

3. Place right 
foot once its length 
forward, knee firm and supporting 
body, then carry hands inward, and 
then the right one forward to middle 
realm front, with palm averse, and 
left to lower realm lateral, palm 
prone, head at same time turned to 
right, looking over right shoulder* 
Recover position and do same in 
reverse order. 





VISIBLE EXPRESSION OR GESTURE 



235 




-^ 



4. Advance one foot once its length 
front, then carry head and hands to 
chest and kneel, from this position 
extend arms upward to oblique-front, 
palms supine, then clasp hands, bow- 
ing head upon knuckles : lastly, carry 
head to position and rise with hands 
floating outward and downward to 
side. 

5. Place right foot twice its length 
to lateral, toes pointing directly to 
right, turn face upward, at same time 
carry arms with hands pendant to 
shoulder level, then describing a circle, 
carry them horizontally forward, palms 
facing, head and body strongly in same 
direction, right knee bent. Then pivot 
round to left, bringing right arm with 
head pendant overhead and left hand 
prone to left downward, face turned 
upward, body support in right limb. 
Do same reversely. 




Note. — Many beautiful combinations in posing may be made 
from the exercises which have been presented. These will be valu- 
able not only to the pupil, but pleasing for entertainment. For 
posing in regard to sentiment, see Delsartean Pantomimes, by the 
author of this volume. 



PRINCIPLES FOR BASIC POSITIONS 

" Let your attitude, as well as gesture and face, foretell what you would make 

felt."— DELSARTE. 



Mechanical positions and movements of different mem- 
bers of the body, having received proper attention by- 
means of the preceding gymnastic exercises, the pupil is 



236 ADVANCED ELOCUTION 

prepared to enter upon the study of visible expression, or 
gesture. This can be best accomplished by considering 
certain principles founded upon psychic indications, using 
at the same time the exercises, which illustrate them. 
The first in order pertain to attitudes from the base. 

Note. — In basic positions, with few exceptions, one limb be- 
comes the sustaining agent and the other the balancing agent, and 
all changes from one foot to the other, exclusive of certain kinds of 
characterization, should be marked with the utmost simplicity. 

Again, all forward positions in any direction from a centered 
point — whether it be directly front, obliquely front,or lateral — that 
is, if the sustaining foot moves forward in any one of these direc 
tions, the action is a Progressive or Eccentric one, and conversely 
if the sustaining member moves backward, either directly back- 
ward or obliquely backward, the action becomes a Retrogressive 
or Concentric one. In practicing the exercises intended to illus- 
trate these or any other principles, always endeavor not only to 
ascertain, but also to feel, the sentiment embodied in them. 

Principle I 

Standing on narrow base, with weight upon foot, directly 
under the body, the other slightly advanced, toes outward 
at the usual angle, knee of forward limb slightly relaxed, 
torso easily erect, the indication is that of dignity, calm- 
ness, passivity, or repose. 

Exercises 

1. " The city and republic of Carthage were destroyed by 
the termination of the third Punic war, about one hun- 
dred and fifty years before Christ." — From " Destruction of 
Carthage " — Anonymous. 

2. " Calm and deep peace in this wide air, 

These leaves that redden to the fall ; 
And in my heart if calm at all, 
If any calm, a calm despair." 

From " In Memoriam " — Tennyson. 



VISIBLE EXPRESSION OR GESTURE 237 

3. " Now came still evening on, and twilight gray, 
Had in her sober livery all things clad ; 
Silence accompanied, for beast and bird, 
They to their grassy couch, these to their nests 
Were slunk — all but the wakeful nightingale; 
She all night long her amorous descant sung." 

From " Paradise Lost " — Milton. 



Principle II 

With similar bearing of torso, and foot placed as in Prin- 
ciple I, but with weight upon forward foot, and backward 
one slightly lifted at heel, and knee a little relaxed, the in- 
dication is that of quiet interest, attention, or intention. 

Exercises 

1. " Near yonder copse, where once the garden smiled, 
And still where many a garden flower grows wild, 
There, where a few torn shrubs the place disclose, 
The village preacher's modest mansion rose. 
A man he was to all the country dear, 
And passing rich — with forty pounds a year!" 

From " The Deserted Village " — Goldsmith. 

2. " Paul had never risen from his little bed. He lay 
there, listening to the noises in the street, quite tranquilly ; 
not caring much how the time went, but watching it, and 
watching everything. When the sunbeams struck into 
his room through the rustling blinds, and quivered on the 
opposite wall like golden water, he knew that evening was 
coming on, and that the sky was red and beautiful. As 
the reflection died away, and a gloom went creeping up 
the wall, he watched it deepen, deepen, deepen into 
night." — From " Dombey and Son " — Dickens. 

3. " The way was long, the wind was cold, 
The Minstrel was infirm and old ; 
His withered cheek and tresses gray 
Seemed to have known a better day ; 



238 ADVANCED ELOCUTION 

The harp, his sole remaining joy, 
Was carried by an orphan boy ; 
The last of all the bards was he, 
Who sung of Border chivalry." 

From "Lay of the Last Minstrel " — Scott. 

Principle III 

With basic position same as in Principle I, but feet 
more separated in the lengths, and with line of gravity in 
heel of backward foot, with torso somewhat relaxed in 
shoulders, the indication is that of meditation, abstraction, 
or concentrated thought. 

Exercises 

1. "If it were done, when 'tis done, then 't were well 
It were done quickly : if the assassination 
Could trammel up the consequence, and catch 
With his surcease success ; that but this blow 
Might be the be-all and the end-all here, 
But here upon this bank and shoal of time, 
We'd jump the life to come." 

From " Macbeth'* s Soliloquy " — Shakespeare. 

2. " It must be so ! Plato, thou reason'st well : 

Else, whence this pleasing hope, this fond desire, 
This longing after immortality ; 
Or, whence this secret dread, and inward horror, 
Of falling into nought?" 

From "Cato's Soliloquy " — Addison. 

3. " Farewell, a long farewell, to all my greatness ! 

This is the state of man ; to-day he puts forth 
The tender leaves of hopes ; to-morrow blossoms, 
And bears his blushing honors thick upon him; 
The third day comes a frost, a killing frost, 
And, when he thinks, good easy man, full surely 
His greatness is a-ripening,— nips his root, 
And then he falls as I do." 

From " Wolsei/s Soliloquy " — Shakespeare. 



VISIBLE EXPRESSION OR GESTURE 239 

Principle IV 

With basic position same as in Principle II, but feet 
more separated in the lengths, unsupporting foot on toe, 
its heel turned inward toward heel of sustaining foot, 
thus giving greater length to the limb, chest strongly 
raised, the indication is that of active interest, desire, 
earnestness, eagerness, courage, boldness, enthusiasm, or 
vehemence. 

Exercises 

1. " The war is inevitable ; and let it come ! I repeat it, 
sir, let it come ! It is in vain, sir, to extenuate the matter. 
Gentlemen may cry ' Peace ! Peace V but there is no 
peace ! The w T ar is actually begun ! The next gale that 
sweeps from the north will bring to our ears the clash of 
resounding arms !" — From u On British Government in 
America " — Patrick Henry. 

2. " Hurrah for Merrie England now ! Hurrah for France, 
the grand ! 
As w T e charge the foe together, all abreast, and hand to 

hand. 
Hurrah, the mighty host doth melt before our fervent 

heat, 
And against our side the ebbing flood does faint and 
fainter beat. " 

From u The Battle of Inkerman " — Massey. 

3. "The blood of our fathers calls to us from the soil 
which we tread ; it beats in our veins ; it cries to us not 
merely in the thrilling words of one of the first victims in 
this cause, — ' My sons, scorn to be slaves !' — but it cries 
with a still more moving eloquence — ' My sons, forget not 
your Fathers !' " — On "National Character " — Everett 

Principle V 

With feet considerably separated, backward limb sup- 
porting, knees relaxed, and torso retracted, with shoulders 



240 ADVANCED ELOCUTION 

drawn forward and chest correspondingly inward, the in- 
dication is that of fear, dread, anguish, or terror. 

Exercises 

1. "Angels and ministers of grace defend us !" — From 
"Hamlet " — Shakespeare. 

2. "Whence is that knocking ?"— " Macbeth "Shake- 
speare. 

3. "No more: No more! I don't wish to see it. Show 
me no more!" — From "Christmas Carol" — Dickens. 

Principle VI 

With feet considerably separated, weight on backward 
limb, but both limbs rigid, torso raised and tense, the in- 
dication is that of independence, resistance, defiance, scorn, 
contempt, or derision. 

Exercises 

1. " I've scared ye in the city ; I've scalped ye on the 

plain ; 
Go, count your chosen where they fell beneath my 

leaden rain ! 
I scorn your proffered treaty ! the paleface I defy ! 
Revenge is stamped upon my spear, and ' blood ' my 

battle-cry !" 

From "The Seminole 's Defiance" — G. W. Patten. 

2. " But here I stand and scoff you; 

Here I fling hatred and full defiance in your face ! 
Your Consul's merciful — for this all thanks. 
He dares not touch a hair of Catiline !" 

From "The Tragedy of Catiline " — Croly. 

3. " You say you are a better soldier : 

Let it appear so ; make your vaunting true, 
And it shall please me well. For mine own part, 
I shall be glad to learn of noble men." 

From "Julius Cxsar " — Shakespeare. 



VISIBLE EXPRESSION OB GESTURE 241 

Principle VII 

With heels closed, toes outward at the usual angle, both 
limbs supporting torso easily erect, the indication is that 
of respect, obedience, or deference. 

Exercises 

' 1. " General, I await your orders." — Anon. 

2. v * Gentlemen, my master Antonio is at his house and 
desires to speak with you both." — From "Merchant of 
J 'enice " — Shakespeare. 

3. " Most potent, grave, and reverend signiors, 
My very noble and approv'd good masters — 
That I have ta'en away this old man's daughter, 
It is most true ; true, I have married her : 
The very head and front of my offending 
Hath this extent, no more." 

From "Othello's Apology " — Shakespeare. 

Principle VIII 

With feet somewhat separated, and nearly parallel, both 
limbs supporting, the indication is that of weakness, in- 
fancy, decrepitude, or old age. 

Exercises 

1. " I'm Feddie an' I'm most free years ole, an' I can 
walk nearly as good as gan'pa." 

2. " Pardon me, gentlemen, but I have come here in 
great feebleness of body to plead my case before you." 

3. " Pity the sorrows of a poor old man, 

Whose trembling limbs have borne him to your door." 

Principle IX 

With feet close together, and parallel, knees relaxed, 
chest and elbows inward, the indication is that of timidity 
or want of self-assertion. 
16 



242 ADVANCED ELOCUTION 



Exercises 



1. " Good gracious me ! What a complication of misery ! 
How — de — do? I — I — I'm afraid you must have got very 
wet." — Toots in "Dombey and Son " — Dickens. 

2. " I am, sir, sensible — I am, indeed, — that, though — 
I should — want — words — I must proceed ; and, for the 
first time in my life, I think — I think — that — no great 
orator should shrink ; — and, therefore, Mr. Speaker, I for 
one — will speak out freely. Sir, — I've not yet done. Sir, 
in the name of those enlightened men who sent me here 
to — speak for them — why then, to do my duty — as I 
said before — to my constituency — I'll say no more." — 
From '''An Orators First Speech in Parliament " — Alexander 
Bell 

Principle X 

With feet somewhat separated, toes pointing forward or 
turned slightly inward, and torso distorted, the indication 
is that of boorishness or rusticity. 

Exercises 

1. "Wall, I'll let yee hev the hoss an' kerriclge fer 
twenty-five cents an hour, an' thet's about as cheap as 
you'll git it any whor in these diggins." 

2. " Truly shepherd in respect of itself it is a good life ; 
but in respect that it is a shepherd's life, it is naught. In 
respect that it is solitary, I like it very well ; but in re- 
spect that it is private, it is a very vile life." — The Clown, 
from u As You Like It " — Shakespeare. 



Principle XI 

With base broad, heels parallel, both limbs supporting, 
torso well drawn upward, the indication is that of famil- 
iarity, bravado, or astonishment. 



VISIBLE EXPRESSION OR GESTURE 243 

Exercises 

1. " Eleven men in buckram set upon me from the front ; 

Three knaves in Kendal green came at my back, and 
let drive at me. I paid them well." 

Falstaff] from " Henry IV" — Shakespeare. 

2. "By your leave, Miss Snooks, I'll say what I please 

Of my houses, my lands, my gardens, and my trees." 

. Principle XII 

With short, cat-like movement, on balls of feet, torso 
inclined forward and slightly bent at hips, the indication 
is that of caution, secrecy, or scrutiny, 

Exercises 

1. " Hush ! let us approach with the greatest caution." 

2. "Stop laffm, Solomon Burke; keep still." 

3. " Move cautiously and slowly, lest we rouse the 
sleepers." 

Principle XIII 

With frequent changes of balance from one foot to the 
other, the indication is that of anxiety, nervousness, or 
embarrassment. 

Exercises 

C h ild ish En i b a rrass m ent 

1. " You'd scarce expect one of my age 
- To speak in public, on the stage ; 
But if I chance to fall below 
Demosthenes or Cicero, 
Don't view me with a critic's eye, 
But pass my imperfections by." 

Note. — Other basic positions may and do occur, especially such 
as evolve themselves from some peculiar habit or gait. It is well 
to observe these eccentricities in others, as they often prove avail- 
able in characterization. 



244 ADVANCED ELOCUTION 



PRINCIPLES FOR HEAD ATTITUDES 

" Give the sign, and you suggest the mood, for every mood has its natural 
sign,"— Moses True Brown. 

The correct carriage of the head has been described in 
the gymnastic exercises. 

There remains now to show its position or inclination 
under some of the dominating States of the Being, and here, 
as in the basic positions, according to the state or condi- 
tion, so is the manifestation. Do not conclude that the 
following principles sum up the head positions. They 
do not; they are merety aids to the pupil in obtaining 
command of himself in expression. The numberless and 
beautiful complexities in this, as in all manifestation, can- 
not be detailed. 

It will be observed that when the forehead acts, as it 
were, as a leader, the condition is conspicuously a mental 
one ; when the lower part of the head or jaw acts as leader, 
the condition is conspicuously a vital one, and when the 
head is poised or normal the condition is conspicuously a 
moral one. 

Principle I 

Head level between shoulders, inclined neither to right 
nor left, nor up nor down ; the indication is that of calm- 
ness, dignity, or repose. 

Exercises 

1. "O, pleasant breast of waters, quiet bay, 

Like to a quiet mind in the loud world." 

From "The Lover's Tale" — Tennyson. 

2. " From the cool cisterns of the night my 

Spirit drinks repose." 



VISIBLE EXPRESSION OR GESTURE 245 

Principle II 

Head inclined toward object addressed or contemplated ; 
the indication is that of interest, sympathy, confidence, 
admiration, or love. 

Exercises 

1. " Have I not been nigh a mother 

To thy sweetness — tell me, dear? 
Have we not loved one another 
Tenderly from year to year, 
Since our dying mother mild 
Said, with accents undefiled, 
Child, be mother to this child !" 
From "Bertha in the Lane " — Mrs. Browning. 

2. " Will you trust me, Katie, dear ? 

Walk beside me without fear ? 

May I carry, if I will. 

All your burdens up the hill ?" 

Fro m "Katie Lee " — Anonymous. 

Principle III 

Head carried aw^ay from object addressed or contem- 
plated ; the indication is that of disdain, contempt, haughti- 
ness, suspicion, or scorn. 

Exercises 

1. '* You sought to prove how I could love, 
And my disdain is my reply. 
The lion on your old stone gates 
Is not more cold to you than I." 
From "Lady Clara Vere de Vere" — Tennyson. 

2. " But you — wretch ! you could creep through the 
world unaffected by its various disgraces, its ineffable mis- 
eries, its constantly accumulating masses of crime and sor- 
row — you could live and enjoy yourself, while the noble- 
minded are betrayed !" — From ''Death of Morris " — Scott 



246 ADVANCED ELOCUTION 



Peinciple IV 



With head forward and chin upward ; the indication is 
that of hope, desire, petition, or worship. 

Exercises 

l.\" Give your children food, Father! 
Give us food, or we must perish ! 
Give me food for Minnehaha, 
For my dying Minnehaha !" 

From "Hiawatha " — Longfellow. 

2. " Mother, mother, up in heaven, 

Stand up on the jasper sea, 
And be witness I have given 

All the gifts required of me — 
Hope that bless'd me, bliss that crown'd, 
Love that left me with a wound — 
Life itself that turneth round !" 

From " Bertha in the Lane " — Mrs. Browning. 



Principle V 

Head down, chin in ; the indication is that of resigna- 
tion, humility, reverence, meditation, modesty, abasement, 
or shame. 

Exercises 

1. " Go, get thee from me, Cromwell ; 

I am a poor, fallen man, unworthy now 
To be thy lord and master !" 

From "Henry VIII" — Shakespeare. 

2. " My sins as scarlet are ; let me go hence, 

And in some cloister's school of penitence, 
Across those stones, that pave the way to heaven, 
Walk barefoot, till my guilty soul be shriven !" 

From "King Robert of Sicily " — Longfellow. 



VISIBLE EXPRESSION OR GESTURE 247 

Principle VI 

Head held erect ; the indication is that of joy, exulta- 
tion, courage, or triumph. 

Exercises 

1. "Hurrah! hurrah! a single field hath turned the 

chance of war. 
Hurrah ! hurrah ! for Ivry. and King Henry of 
Navarre !" 

From " The Battle of Ivry " — Macaulay. 

2. u It is my living sentiment, and by the blessing of 
God, it shall be my dying sentiment. Independence now, 
and independence forever !" — From " Supposed Speech of 
John Adams " — Webster. 

Principle VII 

Head same as preceding, but carried a little further 
backward ; pride, anger, or defiance. 

Exercises 

1. " And if thou said'st I am not peer 

To any lord in Scotland here. 
Lowland or Highland, far or near, 
Lord Angus, thou hast lied." 

From "Marmion" — Scott 

2. " My lords, I care not, if my actions 

Were tried by every tongue, every eye saw them, 
Envy and base suspicion set against them, 
I know my life so even." 

From "Queen Katharine. Henry VIII" — Shakespeare. 

Principle VIII 

The nod of the head forward is indicative of approval, 
affirmation, approbation, emphatic declaration. 



248 ADVANCED ELOCUTION 

Exercises 

1. " Yes, you have my full, free, and hearty approval." 

2. " This needs, must and shall be done." 

3. " Ay, my liege, so please you give no leave." 

Principle IX 

The shake of the head, or " rotation," is indicative of 
doubt, denial, negation, exasperation, regret. 

Exercises 

1. " No, believe me, I saw none." 

2. " Blow, winds, and crack your cheeks ! rage ! blow !" 

3. " Absalom, my son, my son !" 

Principle X 

Head inclined toward either shoulder, is indicative of 
weariness, languor, or doubt. 

Exercises 

1. " 0, I am aweary, and I would that life were ended." 

2. " I am amaz'd, methinks, and lose my way 

Among the thorns and dangers of this world." 

From " King John " — Shakespeare. 

Principle XI 

Head somewhat drooped, is indicative of sorrow, 
depression, or discouragement. 

Exercises 
1. u Gone — my lord ! 

Gone thro' my sin to slay and to be slain ! 
And he forgave me, and I could not speak. 
Farewell? I should have answered his farewell, 
His mercy choked me." 

From " Guinevere " — Tennyson. 



VISIBLE EXPRESSION OR GESTURE 249 

2. " Farewell, my Laughing Water ! 
All my heart is buried with you, 
All my thoughts go onward, with you! 
Come not back again to labor, 
Come not back again to suffer, 
Where the famine and the fever 
Wear the heart and waste the body." 

From " Hiawatha " — Longfellow. 

Principle XII 

Head thrust forward ; the indication is that of scrutiny 
or curiosity. 

Exercises 

1. " He's up in the shed ! 

He's opened the winder, — I see his head j 

He stretches it out, 

An' pokes it about, 
Lookin' to see 'f the coast is clear, 
An' nobody near ; — 
Guess he do' no' who's hid in here !" 

From " Darius Green" — Trowbridge. 

2. " Something to landward, sure I view 7 ; 

Far ahead, I can just behold 
Silken sails, with a border of gold.''' 

From "Sailing of King Olaf" — Brotherton. 



THE ARMS 

" Man is not only in the centre of the universe, but he possesses a human centre 
within himself, toward which, from which, or with which his manifestations 
necessarily move." — Fullerton. 

While gesturing may be defined, in a general way, as ex- 
pression through the various members of the body, in its 
more restricted sense, it means that which is done through 
the motions of the arm and positions of the hand. The 
arm* centres of motion are the shoulder, elbow, and wrist, and 
from these centres the arm radiates from the body in 



250 ADVANCED ELOCUTION 

various directions ; or from an outward direction or posi- 
tion it is brought inward and upon the body, thus be- 
coming reflexive, both in action and meaning. 

According to natural law, every human being, in rela- 
tion to the universe, stands, as it were, upon the earth's 
centre, and all his motions and positions are necessarily 
in accordance with this law. Therefore all our concep- 
tions of the real or the ideal, both literal and figura- 
tive, must necessarily be from this standpoint. Hence, 
if above us, the movements of the arms and hands in 
gesticulation will be upward, if below us the movements 
will be downward ; or horizontal, if on the same plane 
with us, using one, two, or three sets of arm levers as may 
best convey the meaning. 

For convenience these three planes or realms may be 
represented as follows : that which is above, as the " Realm 
of the Superior ;" that which is below, as the " Realm of 
the Inferior," and that which surrounds, as the " Realm 
of Equality." The following Principles then may be for- 
mulated in regard to arm directions. 

Principle I 

The Mental side of the Being largely dominates the 
Realm of Equality; hence ordinary statement of facts, 
general, geographic, and historic references, and address 
to the human or the superhuman, either existing or sup- 
posed to exist on our planet, are usually indicated or ren- 
dered impressive by gestures somewhere in this Realm. 

Principle -II 

The Moral side of the Being largely dominates the 
Realm of the Superior; hence reference or address to sub- 
stance, real or imagined, conceived to exist above us ; that 
which ennobles, refines, glorifies, deifies, and ideas 



VISIBLE EXPRESSION OB GESTURE 251 

prompted by an approving conscience are usually indi- 
cated or made impressive by gestures somewhere in this 
Realm. 

Principle III 

The Vital side of the Being largely dominates the Realm 
of the Inferior ; hence reference or address to substance, 
real or imagined, conceived to exist below us, as that 
which destroys, degrades, debases, brutalizes — show T s de- 
cision and determination, and ideas prompted by a disap- 
proving conscience, are usually indicated or made impres- 
sive by gestures somew r here in this Realm. 

These Principles are not absolute ; the manifestations 
through complexities may cause the arm to invade either 
of the other realms than the one to which the Principle 
ascribes it ; nevertheless, in the primary conditions, the 
Principle will hold true. 

As the arms move upward or downward, in the expres- 
sion of thought or feeling, they move correspondingly out- 
ward or inward in any of the realms. The gesture in any 
realm anyw T here along the line of the front of the person 
gesticulating, is indicative of especial nearness, directness, 
address, appeal, and unity; away from the front, -toward 
the oblique, it is indicative of indirectness, generalization, 
and plurality ; toward the lateral it indicates separation, 
withdrawal, plenitude, completeness, vastness, and univer- 
sality. 

Note. — These gestures do not refer to those which bring the 
hand inward upon the body, and are termed reflexive. 

In all that pertains to natural and effective delivery 
w T hen the hands are carried upward or downward, outward 
or inward, to any given point, the arms will move, either 
in a direct line, or will be deflected from a direct line, 
moving through parts of an arc or circle, according to the 
character of the thought or feeling expressed. Both the 



252 ADVANCED ELOCUTION 

direct and deflected movements are in harmony with the 
vocal movement, which is also direct, or in waves or in- 
flections. Again both voice and action harmonize in this 
respect. If the sentiments be unimportant or trivial the 
syllabic utterance and the arm movement will be corre- 
spondingly limited or shortened, using in the arm move- 
ment only wrist, or wrist and elbow centres. On the con- 
trary, if the Being is dominating some noble theme, or 
intense passion, the syllabic utterance will be through 
wide ranges of intonation, direct or inflected, and the 
arm move correspondingly, either in a direct or deflected 
way, through wide ranges of space. 

Gesture in relation to State of the Being may be divided 
into descriptive, imitative, emphatic, and passional. 

Descriptive gestures are used in locating, pointing out, 
or describing objects, either literally or figuratively. Such 
gestures have value, but too often the reader or reciter 
makes so constant and free use of them as to lose sight of 
the more important parts of his theme. 

Imitative Gestures, if controlled by good judgment, impart 
a graphic power to recital or delivery, but when used by 
the " unskillful they do make the judicious grieve." Fre- 
quently imitation or mimicry is introduced in recitals im- 
properly and falsely. In doing so the law of suggestion 
is violated and the too literal representation falls like a 
slow nightmare upon an audience. Such pernicious rep- 
resentations cannot be too strongly condemned. Literal 
representation may be used in a literal characterization, or 
in an acted part, though not even then if it is likely to 
shock the sensibilities of the hearers. 

It may also be allowed where the language has led up 
to a climax, requiring a delineation commensurate with 
the vocal expression. Except in these cases imitative 
gestures should not be attempted. 



VISIBLE EXPRESSION OR GESTURE 253 

Emphatic Gestures are used to assist the voice in enforcing 
or emphasizing thought or feeling, and contribute largely 
to the effectiveness of the orator or speaker who is discrim- 
inating in their use. 

Passional Gestures are pre-eminently the representation 
of strong emotion, and mark the highest phases of dra- 
matic and oratoric art. 

A gesture is made up of three parts, the preparation, 
the ictus or stroke, and the return ; or if not the return, the 
passing of the hand by transition from one form of gesture 
to another. The stroke should be simultaneous with the 
vocal impulse given to the more important parte of the 
language, the stroke of the gesture being to the eye w T hat 
emphasis and inflections of the voice are to the ear. Al- 
though a gesture is made up of three parts, the greatest 
simplicity should be observed in passing from one part to 
another, so that the thought or feeling is made pre-eminent 
and not the action. It is better to allow" the voice alone to 
express the sentiment than to have the attention distracted 
by the manner. A display of ornate or meaningless ges- 
ticulation often weakens the thought. 

Transition in gesture is a movement in which the hand 
is carried from one form of gesture to another wdthout 
first returning to a rest point. Its place is to assist the 
voice when there is continuity of thought. Especially is 
its value seen in the rhetorical climax, for a climax in 
thought and feeling should have a corresponding climax 
in voice and action. 



254 ADVANCED ELOCUTION 

HAND INDICATIONS 

11 The hand may properly be called the second tongue, because Nature has 
adapted it, by the most wonderful contrivance, for illustrating the art of per- 
suasion."— Artemidorus. 

In the ages past, when the mechanism of the human 
frame was little understood, the power and capability of 
the hand was recognized as an agent of expression. 
Ancient orators said of it : " It speaks for itself; it is a uni- 
versal language; without it is no eloquence." We of to- 
day, in the light of a higher civilization, should not under- 
estimate this means of communication with which man 
has been so graciously endowed. 

The hand as a part of the arm, is carried by the latter 
to certain objective or subjective points, wherein by posi- 
tion or significant movement, it conveys a meaning. As 
w T ith all the media of expression, there must be secured 
first, mastery of muscle through control of nerve force, 
and second, appropriateness in manifestation, before the 
highest results in delivery can be attained, or the multi- 
tudinous variety of hand indications be left, with any 
degree of confidence, to the individuality of the speaker 
or reciter. The hand, like other parts of the body, 
indexes the three States of the Being, and makes use of the 
same modes of motion, the eccentric, concentric, or nor- 
mal, or their various blendings ; for whatever state or 
condition dominates the centre, must perforce liberate 
itself in the same way through all the avenues of the 
body, even to the finger-tips. It not infrequently happens 
that an untrained speaker possesses only a meagre variety 
of hand gesticulation ; but as the rhetorician makes use 
of an extended and choice vocabulary, to give the -fin est 
and most impressive utterance of his thoughts, so the 
speaker, to attain the greatest success in delivery, should" 
have all varieties of symbolization at his command. 



VISIBLE EXPRESSION OR GESTURE 255 

In gesturing there is no choice as to which hand shall 
be used. The action of the left arm is as necessary as that 
of tht 4 right, except in certain conventional forms, as ex- 
tending the hand to another in welcome, or in solemn 
adjuration, etc. Both hands, in simultaneous action, indi- 
cate a greater degree of intensity than is shown b) T one 
alone. The palm is the most expressive part of the hand ; 
from it the outer parts receive their action, and in the free 
opening and closing of the hand is found a primary con- 
dition of visible eloquence, for the palm, well presented to 
the hearer, is capable of great power of expression. 

Note. — Only a few of the hand indications are given here, such 
as are most frequently used and are plainly expressive of the 
sentiment. These, if properly practiced, will lead to ease and 
finish in other forms of hand gesticulation. 

In these exercises as well as in all instruction regarding de- 
livery, the pupil is placed at a disadvantage, unless he has the 
living instructor. 

The Hand Supine (palm away from earth) is exceed- 
ingly broad in its signification. It is the 
giving and deciding hand — it is free, open, 
genial ; therefore it may be said that it 
affirms, invites, declares, invokes, petitions, f 
accepts, defines, concedes, reveals, entreats, 
acknowledges, permits, dismisses, intensifies, and persuades. 

Note. — Here introduce silent practice exercises (that is, exercises 
without words) of hand supine, in the various arm realms, with 
both direct and deflected arm movements, in different altitudes 
and different directions from the front, in the three planes pre- 
viously explained. Then follow with word exercises. 

•Exercises 

1. " Hath Britain all the sun that shines? day, night, 

Are they not but in Britain V' 

2. " The war is inevitable," 




256 ADVANCED ELOCUTION 

3. " From eastern rock to sunset wave. 

The Continent is ours." 

4. " King Agrippa, believest thou the prophets ?" 

5. " Come forth, O ye children of gladness, come /" 

6. " Be ready, gods, with all your thunderbolts, 

Dash him to pieces !" 



8. " Living Will, that shalt endure . . . 

When all that is shall suffer shock, 
Rise in the spiritual rock, 
Flow through our deeds and make them pure." 



The Hand Prone (palm toward earth) is the controlling 
hand — it is protective, restrictive, secre- 
tive, mystical ; hence its indications are 
that of guardianship, benediction, de- 
pendency, suppression, cessation, pro- 
hibition, imprecation, hopelessness, concealment, and awe. 

Note. — Here use silent practice exercises, then follow with word 
exercises. 

Exercises 

1. " Noon descends around me now ; 

'Tis the noon of autumn's glow." 

2. " The winds, with wonder whist, 

Smoothly the waters kissed.''' 

3. " Peace ! Peace ! you durst not so have tempted him." 

4. " The Prohibition of the rum traffic will prove a safe- 
guard to our people." 

5. " Cease a little while, wind ! Stream, be thou silent." 

6. " Down , soothless insulter, I trust not the tale !" 




VISIBLE EXPRESSION OR GESTURE 



257 




7. " The cloud of adversity threw a gloom over his pros- 
pects." 

8. " Thy threats I scorn; thy mercies I despise /" 

Hand vertical (palm outward, finger- 
tips upward,) is evasive, repellent, aver- 
sive ; its indications are that of calamity, 
surprise, amazement, fear, terror, disdain, 
loathing, also that of separation, disper- 
sion, and disruption. 

Note. — Introduce here silent practice exercises, followed by 
word exercises. 

Exercises 

1. "Away ! I do condemn mine ears that have so long 
attended thee." 

2. " horror, horror, horror ! Tongue nor heart cannot 
conceive nor name thee !" 

3. " Fly, fly, my lord !" 

4. " O, ruined piece of nature!" 

5. " Get you hence, for I must go 

Where it fits you not to know." 

6. " Far from our hearts be such inhuman feelings." 

7. " Celestial light dispels the gloomy shades of night." 

8. " Bursts the wild cry of terror and dismay !" 

The Index Finger may indicate 
scorn, contempt, accusation, de- 
rision, warning, threatening ; it 
may be used in discriminating, and 
forcibly asserting, and in making 
conspicuous some one object among 
a number or collection. 
17 





258 ADVANCED ELOCUTION 

Exercises 

1. " Lochiel ! Lochiel ! beware of the day !" 

2. " Now, infidel, I have thee on the hip." 

3. " Beivare ! Beware /" 

4. " See'st thou across the sullen wave, 

A blood-red banner, wildly streaming ?" 

5. " Thou little valiant, great in villainy !" 

6. " Note this point, in particular." 

7. " By this sun that shines, I'll thither!" 

Other equally strong and graphic meanings are ex- 
pressed through the agency of the ringers. Among them may 
be named various forms of enumeration and measurement — 
as the apparent testing or detecting of granulated sub- 
stances, between the thumb and forefinger, or a more deli- 
cate manipulation with the thumb and third finger, or 
with the thumb and little finger. 

A continuous line of thought or chain of reasoning is 
indicated by the linking of the index fingers or of the little 
fingers ; while touching their tips only indicates a still 
closer and more delicate union. Similarity of meaning is 
shown by all the finger-tips of one hand touching those of 
the other. Again, the closing of the fingers upon the 
palms, denotes condensation or retention; or 
the fingers extended and spread widely apart, 
signify exasperation, when stiffly crooked, 
they evince retraction and rage. 

In regard to the hand itself, its wave or 
flourish is a sign of victory, exultation or 
jubilation ; clinched, it shows anger, deter- 
mination, and defiance ; applied — that is, 
palms pressed together, near chest — humility, 




VISIBLE EXPRESSION OR GESTURE 



259 





self-abasement, and prayer; folded (palms 
together and fingers of one hand laid be- 
tween thumb and forefinger of the other), 
veneration, humility, and adoration ; clasped, 
— that is, fingers of one hand 
inserted between those of the 
other — entreaty, supplication ; 
wrung (first clasped and elevated, then de- 
pressed without disengaging the fingers), 
agony ; rubbing of hands, palm to palm, 
eagerness, joyousness, gloating. 
Again, the hand may be reflexive in its action— that is, 
placed upon some part of the body, it is expressive of 
either mental or emotional excitation — as for instance, 
hand on chest, shows an appeal to conscience, or to one's 
higher and better self ; or crossing of both hands on chest, 
shows veneration, trust ; hand on heart is suggestive of 
sadness, affliction ; hand on forehead, or one or both hands 
on head, is indicative of weariness, confusion, pain. 

In addition to the above, various forms of imitative or 
mimicking gestures may be practiced with profit, such as 
the drawing or sheathing of an imaginary sword or dagger ; 
putting on gloves, or adjusting other parts of dress, etc. 

Xote. — In practicing the various hand positions entertain some 
thought in harmony with that which each is said to express. 



THE COUNTENANCE 



" Survey the soul-beaming countenance ; the thoughtful brow, the penetrat- 
ing eye, the spirit-breathing lips, the deep intelligence of the assembled features. 
How they all conspiring speak." — Herder. 

Of all the symbols employed by man to show his inward 
or outward impressions, none is so pre-eminent as that of 
the face. It is the " magic mirror " wherein the moods of 
thought and feeling are reflected, with unerring faithful- 



260 ADVANCED ELOCUTION 

ness. There is to the eye, in a fine, expressive or speak- 
ing face, a harmony quite as enjoyable, as is musical 
harmony to the ear. A fine face is not necessarily a 
beautiful one, but one which shows a kind and honest 
heart. An expressive face is one in which a lively 
fancy receives impressions from without and within, and 
transmits their effects to the countenance. 

Lavater, who so attentively studied all the powers of the 
face, makes this distinction in regard to it which is worthy 
the attention of readers and speakers. 

" Physiognomy is the knowledge of the signs of the 
powers and inclinations of men," hence it treats of the 
character at rest. 

" Pathognomy is the knowledge of the signs of the 
passions of men," hence it treats of the character in 
excitation. Few, indeed, read character from the former 
standpoint, but every one reads the countenance pathog- 
nomically ; therefore how necessary an expressive counte- 
nance becomes to a speaker or reader. When he fails in 
this he presents either a frigid or barren aspect, accom- 
panied sometimes by twitching of the facial muscles, and 
although the voice may instruct, the speaker can never 
excite great interest, pleasure, or enthusiasm. Again, it 
not infrequently occurs, that the face appears distorted, or 
exaggerated, or is forced into a set smile ; or it may be so 
masked under a covering of cosmetics that it cannot 
reveal a feeling if it would, and the whole effect reminds 
one of the old lady's wig, described in one of Dickens' 
novels, " Such a gloomy deception that it ceases to be one, 
and takes nobody in." All unnatural grimaces, and all 
tricks of affectation and all artificialities should be stren- 
uously avoided. 

Good facial expression requires vivid imagination and 
promptness in response on the part of the facial muscles. 
In acquiring this, if the capability be wanting, as it fre- 



VISIBLE EXPRESSION OR GESTURE 2G1 

quently is, the first means to be employed is relaxing the 
facial muscles. 

Relaxing Exercises for the Face 

1. Relax muscles of eyelids, slowly open eyes. 

2. Relax frontal muscles, longitudinally and trans- 
versely. 

3. Relax orbicular or cheek muscles. 

4. Relax lip muscles. 

5. Relax jaw muscles, allowing jaw to drop. 

Practice each a number of times. A gentle massage of 
the various parts of the face tends also to muscular repose 
and pliability. 

Note. — The gymnastic exercises to which the facial muscles are 
sometimes subjected by over-zealous teachers, are no doubt harm- 
ful. Their tendency is to force the muscle into unnatural tension, 
causing the face to assume a grotesque and even horrible aspect. 
A practice so pernicious should be severely condemned. 

In this enumeration are not included directing the eyes, 
the gentle expansion of the nostrils, the opening of the 
mouth, as in a yawn, nor the distention of the cheeks 
w r ith air. 

A second means for securing an expressive countenance 
is to allow some mood or fancy to dominate the mind, 
setting the features in accord, as though a veritable experi- 
ence were actually occurring at the moment, the whole 
becoming a sort of pantomimic action. 

A third means is the practice exercises of short pas- 
sages of prose or verse, which embody various sentiments. 
By conceiving the thought or feeling contained in them as 
being actually experienced, the facial muscles will be 
brought into responsive action. 

The mental, moral, and vital States of the Being, in all 
their complexities and blendings, make themselves known 



262 ADVANCED ELOCUTION 

by the countenance, through the same modes of motion, 
as they do in all the other media of expression. 

Physiologists state that there are, in the head, fifty-five 
muscles which, with their multiplicity of nerves, control 
the face. These muscles are grouped principally about 
the eyes, nose, and mouth ; forming thus three expressive 
centres. According to Delsarte, to the frontal region or 
forehead, including the eyes, is ascribed the Mental State 
of the Being ; to the nasal region, including the cheeks, the 
Moral; and to the maxillary region, or lower part of the 
face, the Vital. These divisions are not arbitrary, but each 
is more or less blended with the other two, all human ex- 
pression, as already stated, being more or less complex. 



THE EYE 

" The light of the body is the eye."— Matt, vi, 22. 

Of the three centres of facial expression, undoubtedly 
the strongest is the eye. It is the first to indicate 
activity or inactivity of mind and heart. Probably for 
this reason, when estimating the character of another, 
especially one with whom we are to have dealings of im- 
portance, we endeavor to read the inner meaning through 
the eye, and the lack of candor, if it exist, is quickly de- 
tected in the averted or unsteady look. 

Pliny, fittingly says, that it is in the eyes we discover 
moderation, clemency, compassion, love, hate, sorrow, joy ; 
they burn, they strain, they shine, they twinkle; from 
them drops the tear of repentance, and when we kiss 
them we seem to touch the very soul. The eyebrows 
contribute to give form and expression to the eye, and 
completely control the forehead, contracting, raising, or 
lowering it. 



VISIBLE EXPRESSION OR GESTURE Zbd 

THE MOUTH 

" The mouth is the vestibule of the soul."— Cresollius. 

Next to the eye, the mouth is the most important part 
of the countenance, if visible expression alone is con- 
sidered. But, if to this is added expression by verbal 
utterance, it becomes the dominating power. 

A mouth indicating high character, is greatly to be de- 
sired, and unless there is physical deformity, it is not un- 
attainable. Being interlaced with nerve tissue, and w r ithal, 
probabty, the most mobile of any of the features, it is 
the most impressionable, and is made beautiful by what- 
ever is true, and noble, and good in the heart ; or it is 
rendered coarse and brutal by whatever is bad. Every 
evil habit, it has been said, disfigures the mouth, and 
leaves its impress indelibly stamped thereon. The stain 
of intemperance discolors it, ill-nature wrinkles it, envy 
deforms it, and voluptuousness bloats it. On the contrary, 
it is sweetened b}^ benevolence, conformed by w T isdom, 
chiseled by taste, composed by discretion ; and these traces 
once habitually fixed, remain in all their softness and 
charm, through every varying stage of life. 



THE NOSE 

" Sharp jets of anger puffed her fairy nostrils out." 

The nose is of more importance as an agent of expres- 
sion, than a first thought would indicate. Situated 
between the eyes and mouth, it harmonizes with both 
in delineating passion or feeling, showing their accordant 
effects by the curl, dilation, or contraction of the 
nostrils. 



264 ADVANCED ELOCUTION 



FACIAL EXPRESSION 

Certain phases of manifestation, appertaining to facial 
aspects, such as have a primary or clearly defined mean- 
ing, are here presented. They will prove interesting, not 
only as a study, but, in connection with pantomimic 
action and the practice exercises, will be helpful in 
securing muscular control and facial changes. 

LAUGHTER 

Laughter, as far as it relates to the mechanical process, is 
produced by the contraction of three sets of muscles, namely, 
the orbiculars, surrounding the eyes; the large circular 
muscle (orbicularis oris), forming the mouth, and cer- 
tain minor muscles, running to the upper lip. Their con- 
traction raises the eyebrows, eyelids, nostrils, and angles 
of the mouth — the latter being opened more or less widely, 
the corners drawn backward and the upper lip upward. 
Thus a shortened appearance is given to the nose, wrinkles 
are produced below the lower eyelids, or in older persons 
at the outer edges; the cheeks are puffed outward, causing 
the eyes to appear smaller, which, with the hilarious effect 
of laughing, renders them vivacious and sparkling. A 
smile is the first stage in the development of a laugh, and 
its varying phases may be classified under cheerfulness, 
affection, courtesy, gayety, happiness, joy, delight, rapture, 
and ecstasy and each of these has it varieties or modifica- 
tions. 

Exercises 

Cheerfulness 

" Now, my co-mates and brothers in exile, 
Hath not old custom made this life more, sweet 
Than that of painted pomp ? Are not these woods 
More free from peril than the envious court? 



VISIBLE EXPRESSION OR GESTURE 265 

Here feel we not the penalty of Adam. 
The seasons' difference — as the icy fang 
And churlish chiding of the winter's wind, 
Which, when it bites and blows upon my body, 
Even till I shrink with cold, I smile and say 
This is no flatter}- — these are counsellors 
That feelingly persuade me what I am." 

From u As You Like It " — Shakespeare. 

Gayety 

" With many a curve m} r banks I fret, 
By many a field and fallow, 
And many a fairy foreland set 
With willow-weed and mallow. 

" I chatter, chatter, as I flow 
To join the brimming river, 
For men may come and men may go, 
But I go on forever." 

From "The Brook " — Tennyson. 

Mirth 

" Well then, take my life, 
And nail me like a weasel on a grange 
For warning ; bury me beside the gate, 
And cut this epitaph above my bones : 
i Here lies a brother by a sister slain, 
All for the common good of womankind.' " 

From u The Princess " — Tennyson. 



Joy 

" I come ! I come ! ye have called me long — 
I come o'er the mountains with light and song ! 
Ye may trace my step o'er the w T akening earth, 
By the winds which tell of the violet's birth, 
By the primrose-stars in the shadowy grass, 
By the green leaves opening as I pass." 

From " Voice of Spring " — Mrs. Hemans. 



266 ADVANCED ELOCUTION 



Rapture — Spiritual 



" The world recedes ! it disappears ! 
Heaven opens on my eyes ! my ears 

With sounds seraphic ring ! 
Lend, lend your wings ! I mount ! I fly ! 
Grave ! where is thy victory ? 

O Death ! where is thy sting ?" 
From " The Dying Christian to his Soul" — Pope. 



SORROW, GRIEF 

As joyous feelings cause an increased circulation of the 
blood, and tend to brighten the eye, so sad feelings tend 
to retard the circulation and diminish the lustre of the 
eye. These in turn produce their accordant effects upon 
the features, as well as through the whole body. In sor- 
row or depression the inner ends of the eyebrows are raised, 
and in the more extreme states of feeling there is contrac- 
tion of the frontal muscles, causing transverse wrinkles 
across the forehead. The corrugating muscles contracting 
simultaneously with the frontal, bring the eyebrows near 
together, producing a mark in the forehead not unlike a 
horse-shoe. The corners of the mouth, at the same time, 
are more or less depressed, causing the cheek muscles to 
relax, giving to the face an elongated and hollow appear- 
ance. Under sorrow may be included all the lights and 
shades of feeling pertaining thereto, as seriousness, solem- 
nity, melancholy, regret, sadness, grief, despair, etc. 

Exercises 

Seriousness 

" In the room 
Of this grief-shadowed present there shall be 
A Present in whose reign no grief shall gnaw 
The heart, and never shall a tender tie 



VISIBLE EXPRESSION OR GESTURE 267 

Be broken — in whose reign the eternal Change 
That waits on growth and action shall proceed 
With everlasting Concord hand in hand." 

From "The Flood of Years" — Bryant. 



Solemnity 

%> The golden ripple on the wall came back again, and 
nothing else stirred in the room. The old, old fashion ! 
The fashion that came in with our first garments, and will 
last unchanged until our race has run its course, and the 
wide firmament is rolled up like a scroll. The old, old 
fashion — Death. 0, thank God, all who see it, for that 
older fashion yet, of Immortality! And look upon us, 
angels of young children, with regards not quite estranged, 
when the swift river bears us to the ocean." 



Sadness 

" Little Nell was dead. No sleep so beautiful and calm, 
so free from trace of pain, so fair to look upon. She 
seemed a creature fresh from the hand of God, and wait- 
ing for the breath of life ; not one who had lived and 
suffered death." 

From "Old Curiosity Shop ''—Dickens. 



Grief 

Grief fills the room up of my absent child, 
Lies in his bed, walks up and down with me ; 
Puts on his pretty looks, repeats his w^orcls, 
Remembers me of all his gracious parts. 
Stuffs out his vacant garments with his form ; 



O, my boy, my Arthur, my fair son ! 

My life, my joy, my food, my all the world! 

My widow-comfort, and my sorrow r 's cure." 

From "King John " — Shakespeare. 



268 ADVANCED ELOCUTION 



ANGER 

Anger is an intense form of feeling. By it the circulation 
of the blood is more or less disturbed, the face, sometimes, 
as in rage or fury, becoming alternately purple and livid, 
while the veins on the forehead and neck are distended. 
In this excited state the eyes burn or glare, the corru- 
gating muscles lower the brows, bringing them near to- 
gether; the lower jaw is firmly set to the upper one; the 
nostrils are dilated, and lips closed, except in extreme 
cases, where the teeth are uncovered. Under anger may 
be included all the lights and shades of feeling from earn- 
estness, determination, indignation, to hatred, rage, and 
fury. 

Exercises 

Earnest Resolve 

" On such occasions, I will place myself on the extreme 
boundary of my right, and bid defiance to the arm that 
would push me from it." 

From "Freedom of Debate " — Webster. 

Indignation 

"A word, but one, one little, kindly word, 
Not one to spare her ; out upon you flint ! 
You love nor her, nor me, nor any ; nay, 
You shame your mother's judgment, too. Not one? 
You will not? Well— no heart have you !" 

From " The Princess " — Tennyson. 

Anger 

" Read o'er this : 
And after, this ! And then to breakfast — with 
What appetite you have !" 

From " Henry VIII" — Shakespeare. 



VISIBLE EXPRESSION OR GESTURE 269 



Hatred 

" Poisons, be their drink 
Gall — worse than gall, the daintiest meat they taste ; 
Their sweetest shade, a grove of cypress trees ; 
Their sweetest prospects, murd'ring basilisks ! 
Their music — frightful as the serpent's hiss, 
And boding screech owls make the concert full, 
All the foul terrors of dark-seated hell !" 

From " Henry VI" — Shakespeare. 



Rage 

" I trample on your offers, and on you ; 
Begone ! we will not look upon you more !" 

From " The Princess" — Tennyson. 



SCORN 

Closely allied to anger is scorn and its associated feelings 
of disdain, contempt, defiance, derision, and disgust. In 
these emotions, however, there is often a partial closure of 
the eyelids, the nose is more or less elevated, the nostrils 
partly closed, the canine tooth on one side of the face, 
wholly or partly uncovered, the contraction of the muscle 
on that side of the face usually making a furrow in the 
cheek, and wrinkles under the eye ; in disgust, the upper 
lip is strongly raised. 

Exercises 

Contempt 

" Thou slave ! thou wretch ! thou coward ! 
Thou little valiant, great in villainy ! 
Thou ever strong upon the stronger side !" 

From " King John " — Shakespeare. 



270 ADVANCED ELOCUTION 



Disdain 



" You have done well and like a gentleman, 
And like a prince ; you have our thanks for all ; 
And you look well, too, in your woman's dress ; 
Well have you done, and like a gentleman." 

From " The Princess" — Tennyson. 



Derision 



" So, fare you well, my little, good lord cardinal." 

From " Henry VIII v — Shakespeare. 



SURPRISE 

In surprise, the eyebrows are raised, and eyes and 
mouth sometimes widely open. Modifications of surprise, 
or its attendant lights and shades, are found in attention, 
interest, wonder, astonishment, amazement, terror, and 
horror; in the latter cases, there is strong dilation of 
nostrils, and eyes seeming to start from their sockets. 

Exercises 

Attention — Listening 

" Hush ! hark ! Did stealing steps go by, 
Came not faint whispers near ?" 

Anon. 

Amazement 

"As sure as there's breath in man, it's aulcl Ellangowan 
risen from the dead I" 

From " Guy Mannering " — Scott. 

Terror 

"And now, from forth the frowning sky, 
From the Heaven's topmost height, 
I heard a voice, — the awful voice 
Of the blood avenging Sprite !" 

From " Dream oj Eugene Aram " — Hood. 



VISIBLE EXPRESSION OR GESTURE 271 

Any of the facial conditions already named may be 
manifested in their separateness, or may be blended with 
others ; as there is complexity of feeling, so will there be 
complexity in manifestation. Darwin fittingly remarks : 
" Many complex conditions emanate from the passions, 
which will not admit of description, and in regard to the 
feelings of jealousy, envy, avarice, revenge, suspicion, deceit, 
slyness, guilt, vanity, ambition, pride, and humility, it is 
doubtful if the conditions of mind are revealed with any 
fixed expression, to be described or delineated, but many 
of them can be detected by the eye." 

Miscellaneous Practice Exercises for Attitude, Gesture, and 
Facial Expression. 



" Never stoops the soaring vulture 
On his quarry in the desert, 
On the sick or wounded bison, 
But another vulture, watching 
From his high aerial look-out, 
Sees the downward plunge, and follows ; 
And a third pursues the second, 
Coming from the invisible ether, 
First a speck, and then a vulture, 
Till the air is dark with pinions. 
So disasters come not singly ; 
But as if they watched and waited, 
Scanning one another's motions, 
When the first descends, the others 
Follow, follow, gathering flock-wise 
Round their victim, sick and wounded, 
First a shadow, then a sorrow, 
* Till the air is dark with anguish." 

From " Hiawatha " — Longfellow. 

II 

" If we work upon marble, it will perish ; if we work 
upon brass, time will efface it ; if we rear temples, they 



272 ADVANCED ELOCUTION 

will crumble into dust ; but if we work upon immortal 
minds, if we imbue them with right principles, with the 
just fear of God and love of our fellow-men, we engrave 
on those tablets something which will brighten to all 
eternity . ' ' — Daniel Webster. 

Ill 

" The winds, as at their hour of birth 
Leaning upon the winged sea, 
Breathed low around the rolling earth 

With mellow preludes, ' We are free.' 
The streams through many a lilied row 

Down carolling to the crisped sea, 
Low-tinkled with a bell-like flow 

Atween the blossoms, ' We are free.' " 

From " We Are Free " — Tennyson. 

IV 

" Like unto ships far off at sea 
Outward or homeward bound are we, 
Before, behind, and all around 
Floats and swings the horizon's bound, 
Seems at its distant rim to rise 
And climb the crystal wall of the skies, 
And then again to turn and sink 
As if we could slide from its outward brink. 
Ah ! it is not the sea 
It is not the sea that sinks and shelves, 
But ourselves 
That rock and rise 
With endless and uneasy motion, 
Now touching the very skies, 
Now sinking into the depth of ocean. 
Ah ! if our souls but pause and swing 
Like the coiypass m its brazen ring, 
Ever level and ever true 
To the toil and the task we have to do, 
We shall sail securely, and safely reach 
The Fortunate Isles, on whose shining beach 
The sights we see and the sounds we hear, 
Will be those of joy and not of fear." 

From "Launching of the Ship " — Longfellow, 



VISIBLE EXPRESSION OR GESTUKE 273 

V 

" There came a stirring of wind from the east, and the sea 
began to moan ; and then there was a strange noise in the 
distance ; in the awful silence between the peals of thunder 
it would be heard. It came nearer and nearer — a low 
murmuring noise, but full of secret life and thrill — it 
came along like the tread of a thousand armies and then 
the gale struck its first blow r ! . . . Blinding showers of 
rain swept over, hissing and roaring ! The white tongues 
of flame were shooting this way and that across the 
startled heavens ! and there was a more awful thunder 
than even the falling of the Atlantic surge booming into 
the great sea-caves. In the abysmal darkness the spectral 
arms of the ocean rose while in their angry clamor; 
and then another blue gleam would lay bare the great 
heaving and writhing bosom of the deep. Surely it 
cannot be Ulva — Ulva the green-shored island, that is 
laughing aloud with wild laughter, on this awful night ? 
And Colonsay, and Lunga, and Fladda — they were beau- 
tiful and quiet in the still summer-time ; but now they 
have gone mad, and they are flinging back the plunging 
sea in white masses of foam ; and they are shrieking in the 
fierce joy of the strife. And Staffa — StafTa is far away 
and alone : she is trembling to her core ; how long will the 
shuddering caves withstand the mighty hammer of the 
Atlantic surge? And then again the sudden wild gleam 
startles the night and one sees with an appalling vivid- 
ness, the driven white waves and the black islands ; and 
then again a thousand echoes go booming along the iron- 
bound coast!" — From "MacLeod of Dare" — Win. Black, 

VI 

" Flag of the free heart's hope and home ! 
By angel hands to valor given ; 

Thy stars have lit the welkin dome, 
And all thy hues were born in heaven. 
Forever float that standard sheet ! 
Where breathes the foe, but falls before us, 
With Freedom's soil beneath our feet, 
And Freedom's banner streaming o'er us." 

From u The American Flag " — Drake. 
18 



274 ADVANCED ELOCUTION 



VII 



" Rum, we yield not to thy unhallowed influence, and 
together we have met to plan thy destruction. And by 
what new name shall we call thee, and to what shall we 
liken thee, when we speak of thy attributes ? Others may 
call thee the child of perdition, the base-born progeny of 
sin and Satan, the murderer of mankind, and the de- 
stroyer of immortal souls ; but I will give thee a new name 
among men, and crown thee with a new horror, and that 
new name shall be the sacramental cup of the Rum-Power, 
and I will say to all the sons and daughters of earth — 
Dash it down ! And, thou, Rum, shalt be my text in my 
pilgrimage among men ; and not alone shall my tongue 
utter it, but the groans of orphans in their agony, and the 
cries of widows in their desolation shall proclaim it the 
enemy of home, the traducer of childhood, and the de- 
stroyer of manhood, and whose only antidote is the sacra- 
mental cup of temperance — Cold Water I" 

From " Water and Rum" — Gough. 



VIII 

" It is the dead of night ; 
Yet more than noon-day light 

Beams far and wide from many a gorgeous hall. 
Unnumbered harps are tinkling, 
Unnumbered lamps are twinkling, 

In the great city of the fourfold wall, 
By the brazen castle's moat, 
The sentry hums a livelier note, 
The ship-boy chants a shriller lay 
From the galleys in the bay. 
Shout, and laugh, and hurrying feet 
Sound from mart, and square, and street, 
From the breezy laurel shades, 
From the granite colonnades, 
From the golden statua's base, 
From the stately market-place, 
Where uprearecl by captive hands, 
The great Tower of Triumph stands, 



VISIBLE EXPRESSION OR GESTURE 275 

All its pillars in a blaze, 

With the many colored rays. 
Which lanterns of ten thousand dyes, 
Shed on ten thousand panoplies." 
From " The Marriage of Tirzah and Ahirad" — Macaulay. 



IX 

c%/ Tis the middle of the night by the castle clock,. 
And the owls have awakened the crowing cock ; 

Tu-whit ! Tu-whoo ! 
And hark, again ! the crowing cock, 

How drowsily it crew, 

" The night is chilly, but not dark ; 
The thin gray cloud is spread on high, 
It covers, but not hides the sky. 
The moon is behind, and at the full ; 
And yet she looks both small and dull. 
The. night is chill, the cloud is gray ; 
'Tis a month before the month of May, 
And the spring comes slowly up this way. 

" The lovely lady. Christabel, 
Whom her father loves so well, 
What makes her in the wood so late, 
A furlong from the castle gate ? 
She had dreams all yesternight 
Of her own betrothed knight ; 
And she in the midnight wood will pray, 
For the weal of her lover, that's far away. 

" She stole along, she nothing spoke, 
The sighs she heaved were soft and low, 
And naught was green upon the oak, 
But moss and rarest mistletoe ; 
She kneels beneath the huge oak tree, 
And in silence prayeth she. 
The lady sprang up suddenly, 
The lovelv lady, Christabel! 



276 ADVANCED ELOCUTION 

" It moaned as near as near could be, 
But what it is she cannot tell, — 
On the other side it seems to be, 
Of the huge, broad-breasted, old oak tree. 

" The night is chill, the forest bare ; 
Is it the wind that moaneth bleak? 
There is not wind enough in the air 
To move away the ringlet curl 
From the lovely lady's cheek ; 
There is not wind enough to twirl 
The one red leaf, the last of its clan 
That dances as often as dance it can, 
Hanging so light, and hanging so high 
On the topmost twig that looks up at the sky." 

From u Christabel"—S. T. Coleridge. 



SUMMARY 

"Elocution, in order to be perfect, must convey the meaning clearly, forcibly, 
and agreeably."— Whately. 

Nature, as respects Voice and Action, having been 
guided by careful cultivation, with the help of mechan- 
ical processes and exercises expressive of sentiment, the 
reader or speaker is prepared to convey to others, truth- 
fully and artistically, what he himself understands, feels, 
and desires ; for the agents of Expression are now sup- 
posed to act reciprocally with Intellect, Sensibility, and 
Will. How exceedingly important then it becomes that 
he who would please and persuade others should have his 
mind well-furnished and well-balanced, and have his 
heart and purpose intent only on what is true, and beauti- 
ful, and good. Otherwise how utterly trivial are all the 
grace and effectiveness of elocution. To impress the 
theme, whatever it may be, clearly, forcibly, and vividly, 
there must be both mental concept and penetration — 
wings must be given the imagination, the heart must be 



VISIBLE EXPRESSION OR GESTURE 277 

warmed, and glow, and sympathize, and all must be 
dominated by a refined taste and a true artistic instinct. 
The orator should exercise judgment in the choice of his 
theme, and the reader in the choice of his selection. In 
regard to the latter too much cannot be said in condem- 
nation of a style of literature which is too frequently 
foisted upon public audiences, while, on the other hand, 
every effort should be made to cultivate a taste for chaste 
and elegant English. What is more pleasing and instruct- 
ive than graceful, ingenious, illuminative rendering of 
choice literature? Finally, add to knowledge and culti- 
vation of body, mind, and soul, the power of repose, 
which is the emblem of self-control; these conditions 
complied with, there stands forth the artist to please, per- 
suade, convince, and delight. 



278 ADVANCED ELOCUTION 

ELOCUTIONARY APOTHEGMS AND OUTLINES 

J. W. SHOEMAKER 

" When the man is made the orator is almost com- 
plete. Language and voice are the easier attainments. 
Covet, therefore, above all things a full, rounded man- 
hood." 

" Expression must be an echo of the state of the mind, 
and the mind is never twice in exactly the same state, 
therefore tha expression cannot be true and be twice 
alike." 

" The body in itself is worthless, and it is only the 
Divinity within us which gives it significance. We are 
like the cipher, a form, but without value of ourselves, and 
our value is determined by the Divine Power or the God 
value back of us. The cipher thus becomes the expres- 
sion of a value and that value is in proportion to the 
amount or power of Divinity back of it." 

" Natural expression may be divided into reflected 
thought, articulated thought, and acted thought. A thought 
revealed or manifested through the countenance is reflected 
thought ; through speech, articulated thought ; and through 
movement, acted thought ; and in any of these cases the 
process is but the means and not the end. The coun- 
tenance must be so transparent that the thought will be 
seen and not the countenance; the voice so transparent 
that the thought will be seen and not the voice ; and 
the action so transparent that the thought will be seen 
and not the action, all like the fluid in a vessel of pure 
glass, where the vessel is not seen but only the fluid 
in it." 



ELOCUTIONARY APOTHEGMS AND OUTLINES 279 

" There is a truthful simplicity in childhood, to which 
few ever return. True art is the pathway to a second 
childhood which is much to be desired." 

" Individuality — You can say what nobody else can say. 
You can do what nobody else can do as yourself. Yon can 
never do what he does whom you would imitate." 

" Avoid invidious comparisons in criticism ; also ostenta- 
tious display of knowledge on the one hand and obse- 
quious humility on the other." 

" The brain is dependent upon the body for its supplies, 
therefore the neglect of body culture is the neglect of mind 
culture. This is true in the twofold sense of power and 
grace. The natural increase of bodily power, and the in- 
crease of polish and grace of body will give corresponding 
refinement and polish to mental action." 

" In reading and speaking let the separate thought be 
well defined ; let it be expressed with full meaning and 
due proportion." 

" Two important elements are especially essential to the 
teacher of elocution, — adaptation and inspiration. The 
first brings the student into harmony and sympathy; 
the second, infuses motive to thought, and stimulates 
action." 

" The teacher should never forget that it is easier to 
criticise than to correct faults. Rather correct one fault 
than criticise a dozen. Profuse criticism will discourage 
and confuse." 

" The teacher is an assistant, a helper, a friend, whose 
business it is to make the student happier for what he 
gives him." 



280 ADVANCED ELOCUTION 

" High attainments are preceded by high ideals, but they 
are reached by humble processes. If our aim is a high 
expression, we must seek a high manhood to be expressed. 
It requires a mountain to express a mountain, a character 
to express a character, but a high manhood must be pre- 
ceded by a higher ideal. There is only one worthy our 
copy and emulation, the Son of Man, the Son of God." 



Luther's Rule for Speaking 

" Rise up cheerily ; 
Speak up bravely ; 
Leave off quickly." 



Lyman Beecher J s Rule 

" Begin low, 
Go slow ; 
Rise higher: 
Take fire !" 



SELECTIONS FOR 

READING AND RECITATION 



SELECTIONS 



A MAN OVERBOARD. 

iFrora Les Miserables.) 

\ MAN overboard ! 
Jl What matters it ? the ship does not stop. The wind 
is blowing ; that dark ship must keep on her destined 
course. She passes away. 

The man disappears, then reappears ; he plunges and 
rises again to the surface; he calls, he stretches out his 
hands. They hear him not ; the ship, staggering under 
the gale, is straining every rope ; the sailors and passen- 
gers see the drowning man no longer ; his miserable head 
is but a point in the vastness of the billows. 

He hurls cries of despair into the depths. What a spectre 
is that disappearing sail ! He looks upon it ; he looks upon 
it with frenzy. It moves away ; it grows dim : it dimin- 
ishes. He was there but just now ; he was one of the 
crew ; he went and came upon the deck with the rest ; he 
had his share of the air and of the sunlight ; he was a 
living man. Now. what has become of him? He slipped, 
he fell ; and it is finished. 

He is in the monstrous deep. He has nothing under his 
feet but the yielding, fleeing element. The waves, torn 
and scattered by the wind, close round him hideously; 
the rolling of the abyss bears him along ; shreds of water 
are flying about his head ; a populace of waves spit upon 
him : confused openings half swallow him ; when he sinks 
he catches glimpses of yawuiing precipices full of darkness ; 
fearful unknown vegetations seize upon him, bind his feet, 
and draw him to themselves ; he feels that he is becoming 

283 



284 ADVANCED ELOCUTION 

the great deep ; he makes part of the foam ; the billows 
toss him from one to the other ; he tastes the bitterness ; 
the greedy ocean is eager to devour him ; the monster plays 
with his agony. It seems as if all this were liquid hate. 
But yet he struggles. 

He tries to defend himself; he tries to sustain himself; 
he struggles ; he swims. He — that poor strength that fails 
so soon — he combats the unfailing. 

Where now is the ship? Far away yonder. Hardly 
visible in the pallid gloom of the horizon. 

The wind blows in gusts ; the billows overwhelm him. 
He raises his eyes, but sees only the livid clouds. He, in 
his dying agony, makes part of this immense insanity of 
the sea. He is tortured to his death by its immeasurable 
madness. He hears sounds which are strange to man, 
sounds which seem to come not from earth, but from some 
frightful realm beyond. 

There are birds in the clouds even as there are angels 
above human distresses, but what can they do for him? 
They fly, sing, and float, while he is gasping. 

He feels that he is buried at once by those two infini- 
ties, the ocean and the sky ; the one is a tomb, the other 
a pall. 

Night descends. He has been swimming for hours ; his 
strength is almost exhausted. That ship, that far-off thing, 
where there were men, is gone. He is alone in the terrible 
gloom of the abyss ; he sinks, he strains, he struggles ; he 
feels beneath him the shadowy monsters of the unseen ; 
he shouts. 

Men are no more. Where is God ? He shouts. Help ! 
help ! He shouts incessantly. Nothing in the horizon. 
Nothing in the sky. He implores the blue vault, the 
waves, the rocks ; all are deaf. He supplicates the 
tempest ; the imperturbable tempest obeys only the 
Infinite. 



QUEEN ARJAMAXD'S DAGGER 285 

Around him are darkness, storm, solitude, wild and 
unconscious tumult, the ceaseless tumbling of the fierce 
waters ; within him, horror and exhaustion ; beneath 
* him, the engulfing abyss. No resting-place. He thinks 
of the shadowy adventures of his lifeless body in the 
limitless gloom. The biting cold paralyzes him. His 
hands clutch spasmodically and grasp at nothing. Winds, 
clouds, whirlwinds, blasts, stars, all useless ! What shall 
he do ? He yields to despair ; worn out, he seeks death ; 
he no longer resists ; he gives himself up ; he abandons 
the contest, and he is rolled away into the dismal depths 
of the abyss forever. 

implacable march of human society ! Destruction of 
men and of souls marking its path ! Ocean, where fall all 
that the law lets fall ? Ominous disappearance of aid ! 
moral death ! 

The sea is the inexorable night into which the penal 
law casts its victims. The sea is the measureless misery. 
The soul drifting in that sea may become a corpse. Who 
shall restore it to life ? Victor Hugo. 



QUEEN ARJAMAND'S DAGGER. 

(Abridged and adapted from "With Sa'di in the Garden.") 

THEY tell this story of Queen Arjamand : 
So fair she was, so debonnair, so wise, 
The heart of Shah Jahan slept in her lap : 
Her mouth issued the King's decrees, her hands 
Gave provinces away, and great commands. 
No night but at her feet did Shah Jahan 
Lay down his cap of lordship and his sword 
To take soft counsel from her faithful lips. 
Which many grudged, and most those other ones 
The Afghan Lady — she that hath her grave 



286 ADVANCED ELOCUTION 

In the Kandhari Bagh — and Zan-i-Noor, 

Grandchild of Abdurrahim, Prince of the Blood : 

" If we could turn His Majesty," said these, 

■" From Mumtaz, that were well wrought for the State, 

Whose banner is become a Persian shift ! 

Mashallah ! will nought dull those dazzling eyes ?" 

And some one whispered : " Best find newer eyes 

More dazzling, killing passion with its like ; 

Since one love chamber have these hearts of men, 

And she who enters thrusts the other forth. 

There is that slave-girl, come from Jessulmere, 

A brown pearl of the Prophet's Paradise, 

Wondrously fair — as none e'er saw ; give word 

They deck her with the garments of Mumtaz, 

And hang the Queen's pearls round her throat, and bring 

The Rajpootni into the Queen's own room 

When she is gone— so may my Lord the King 

Be tenderly beguiled, and Mumtaz scorned." 

And this the Palace Ladies swore was good. 

Surely, 'twas perilous. 

The girl 
Knew — for they told her — she must die, or gain 
Life, and long favor, and large wealth in gold, 
At moment when her veil should drop, and show 
Full moonlight of her face. To reign, see you, 
First in that Court, to win the eyes of him 
Who ruled upon the " Peacock-throne," and stretched 
Hands of command from Balkh to Himalay, 
Was worth some risk, it seemed of fierce farrash. * 
Therefore — half willing, half constrained — she sat 
Trembling, upon the silks of Mumtaz's bed, 
In vestments of the beauteous Queen, her face 
Wrapped in the golden chuddur. Oh ! 'tis known 
What fell, because a Palace maiden heard — 

* The Executioner. 



QUEEN ARJAMAND'S DAGGER 287 

Listening outside the marble jali-work — 
And told it, word for word, to Arjamand. 

%. >k %. * * * 

The Sultan came 
Clad in his private dress — white muslin clasped 
With one great pearl, white cap and jewelled shoes — 
And, throwing down his scimitar and shawl, 
Spake with a gentle smile : " Light of my life ! 
Once more I shut the great loud world away 
And come to reign in this one realm I love, 
The heart of Mumtaz !" Rose the Rajpootni, 
All quaking underneath her rich disguise, 
And bent full lowly to the King of Hind, 
And kissed his feet;— then, let her chuddur fall, 
And — lo ! it was not Mumtaz there ! his queen, 
But that strange, lovely, frightened girl, with throat 
Heaving, eyes gleaming, hands on bosom clasped, 
Who murmured : " Lord of all the world ! thy slave 
Waiteth thy will that she may live or die." 
Doubtless, you think he drew his blade and slew her 

there ! 
He was a man, 'tis writ, of gravity; 
Nice in his pride, terrible in his wrath, 
But oh ! you do not know how fair she was ! 
Otherwise who had ventured ? On his lips 
Ended even in beginning those dread words 
Which leaped from royal anger. At mid-rage 
The charm unspeakable of that sweet slave 
Melted his mounting fury ! Allah makes 
Sometimes a face and form to smite man's soul 
With witchery of subtlest symmetry, 
And she was such ! That Lady of the Taj 
Owned not such lustrous orbs, nor could have shown 
Stature so cypress-like, such arms, such limbs, 
Such eloquence of beauty, touched by fear 



288 ADVANCED ELOCUTION 

Into bewitching grace. Nay ! and she marked 

The first wrath in the Sultan's countenance 

Flicker and pass as flame doth pass away 

When rain falls on the sparkling of a brand : 

So, gently dropped upon his mind the rain 

Of wonder, pity, will of gentilesse; 

And, when she sank upon her face, and sobbed, 

u Lord of the Age ! forgive me ! Send me hence* 

Alive ! I was not told how great thou art, 

How terrible ! how base and bold my deed !" 

He raised the Rajpoot girl, gazed on her face 

With softening eyes, and, while her heart beat quick, 

Touched — with strange tremble of his hands — her hair, 

Her brows, her ears ! then, conquering himself, 

Spake : " Get thee hence, alive ! Fairest, thou art 

Of Allah's works ! and I — I am a man, 

Albeit Lord of men and Shah Jahan ; 

Yet one thing fairer is than even thou, 

And sweeter far for me to have and keep, 

The faith I held and hold to her whose name 

Thou art not meet to hear ! Rajpootni ! see, 

I close mine eyes, not longer to behold 

Thy beauty, lest it tempt my rebel blood 

To traitorousness like thine. Begone ! begone ! 

Before I look again ; for I shall slay, 

Or I shall love, and both were deeds indign !" 

*j* ^j»» ^j^ ^j> <j* ?jC 

She glided forth, 
Seeking escape ; but those that heard the words . 
And saw all done, laid hands on her, and haled 
The weeping maid to angry Arjamand, 
Decked as she was in the Queen's cloth of gold, 
Wearing the Palace-pearls, ungirt, new-bathed, 
Painted, and henna-stained, and scented sw T eet. 



the astronomer's VISION 289 

They told what passed, and how the Sultan spake, 
She cowering at the proud Sultana's feet. 

Then the Queen drew the dagger from her waist, 

A knife of watered steel, hafted with jade, 

And on the hilt a ruby worth three lakhs, 

Pigeon-blood color, marvelous, the gift 

Of Shah Jahan in some soft hour of love — 

An unmatched stone. And, when they looked to see 

The keen point pierce the satin skin 

Stripped of its veil — Arjamand stooped and placed 

The dagger-blade beneath her sandal, snapped 

The bright steel short, and, drawing near to hers 

That Rajpoot's face, kissed tenderly her mouth, 

And gravely spoke : " Go ! thou hast given me 

The richest, best, last gift which earth could give 

In comfort of my great Lord's constancy. 

Take thou this jewel of my dagger, Friend ! — 

Nowdse its point ! — and a Queen's thanks therewith 

For treason dearly done to Arjamand !" 

Edwin Arnold. 



THE ASTRONOMER'S VISION. 

GOD called up from dreams a man into the vestibule of 
heaven, saying, " Come thou hither and see the glory 
of my house." And to the servants that stood around His 
throne He said, " Take him, and undress him from his 
robes of flesh : cleanse his vision, and put a new breath 
into his nostrils : only touch not with any change his 
human heart — the heart that weeps and trembles." 

It was done: and, with a mighty angel for his guide, 
the man stood ready for his infinite voyage ; and from the 
terraces of heaven, without sound or farewell, at once 
19 



290 ADVANCED ELOCUTION 

they wheeled away into endless space. Sometimes with 
the solemn flight of angel wing they fled through infinite 
realms of darkness, through wildernesses of death, that 
divided the worlds of life ; sometimes they swept over 
frontiers that were quickening under prophetic motions 
from God. 

Then, from a distance that is counted only in heaven, 
light dawned for a time through a sleepy film ; by unut- 
terable pace, the light swept to them, they, by unutterable 
pace, to the light. In a moment, the rushing of planets 
was upon them : in a moment, the blazing of suns was 
around them. 

Then came eternities of twilight, that revealed, but 
were not revealed. On the right hand and on the left 
toward mighty constellations, that by self-repetitions and 
answers from afar, that by counter-positions, built up 
triumphal gates, whose architraves, whose archways — 
horizontal, upright — rested, rose at altitude, by spans that 
seemed ghostly from infinitude. Without measure were 
the architraves, past number were the archways, beyond 
memory the gates. 

Within were stairs that scaled the eternities below; 
above was below — below was above, to the man stripped 
of gravitating body : depth was swallowed up in height 
insurmountable, height was swallowed up in depth un- 
fathomable. Suddenly, as thus they rode from infinite to 
infinite, suddenly, as thus they tilted over abysmal worlds, 
a mighty cry arose — that systems more mysterious, that 
worlds more billowy — other heights and other depths — 
w r ere coming, were nearing, were at hand. 

Then the man sighed, and stooped, shuddered, and 
wept. His overladen heart uttered itself in tears, and he 
said : " Angel, I will go no farther. For the spirit of man 
acheth with this infinity. Insufferable is the glory of 
God. Let me lie clown in the grave and hide me from 



THE SONG OF THE LOTUS-EATERS 291 

the prosecution of the infinite ; for end, I see, there is 
none." 

And from all the listening stars that shone around issued 
a choral voice : " The man speaks truly : end there is 
none, that ever yet Ave heard of." " End is there none?" 
the angel solemnly demanded. " Is there indeed no 
end ? — and is this the sorrow that kills you ?" But no 
voice answered, that he might answer himself. Then the 
angel threw up his glorious hands to the heaven of 
heavens, saying, " End is there none to the universe of 
God. Lo ! also, there is no beginning." 

Translated by Prof. Mitchell. 



THE SONG OF THE LOTUS-EATERS. 

(The lotus of the lotus-eaters is probably a tree found in Northern Africa, the 
fruit of which is mildly sweet. It was fabled by the ancients, to make strangers 
who ate of it forget their native country, or lose all desire to return to it, and to 
give themselves up to pleasure-seeking.) 

THERE is sweet music here that softer falls 
Than petals from blown roses on the grass, 
Or night dews on still waters between walls 
Of shadowy granite, in a gleaming pass ; 
Music that gentlier on the spirit lies 
Than tired eyelids upon tired eyes ; 

Music that brings sweet sleep down from the blissful skies. 
Here are cool mosses deep. 
And through the moss the ivies creep. 
And in the stream the long leaved flowers weep, 
And from the craggy ledge the poppy hangs in sleep. 

H< ^ ^ % %■ % 

Propt on beds of amaranth and moly, 
How sweet (while warm airs lull us, blowing lowly) 
With half-dropt eyelids still, 



292 ADVANCED ELOCUTION 

Beneath a heaven dark and holy, 

To watch the long bright river drawing slowly 

His waters from the purple hill — 
To hear the dewy echoes calling 

From cave to cave through the thick-twined vine — 
To watch the emerald- colored water falling 

Through many a woven acanthus-wreath divine ! 
Only to hear and see the far off sparkling brine, 
Only to hear were sweet, stretched out beneath the 
pine. 

The Lotus blooms below the barren peak ; 

The Lotus blows by every winding creek ; 

All day the wind breathes low with mellower tone; 

Through ever} 7 hollow cave and alley lone, 

Round and round the spicy downs the yellow Lotus dust 

is blown. 
We have had enough of action, and of motion we, 
Rolled to starboard, rolled to larboard, when the surge 

was seething free, 
Where the wallowing monster "spouted his foam-fountains 

in the sea. 
Let us swear an oath, and keep it with an equal mind, 
In the hollow Lotus-land to live and lie reclined 
On the hills like gods together, careless of mankind. 
For they lie beside their nectar, and the bolts are hurled 
Far below them in the valleys, and the clouds are lightly 

curled 
Round their golden houses, girdled with the gleaming 

world ; 
Where they smile in secret, looking over wasted lands, 
Blight and famine, plague and earthquake, roaring deeps 

and fiery sands, 
Clanging fights, and flaming towns, and sinking ships, and 
- praying hands. 



NATURE DESIGNED FOR OUR ENJOYMENT ZVo 

But they smile ; they find a music centered in a doleful 

song 
Steaming up, a lamentation and an ancient tale of wrong, 
Like a tale of little meaning, though the words are strong ; 
Chanted from a race of ill-used men that cleave the soil, 
Sow 'the seed, and reap the harvest with enduring toil, 
Storing yearly little dues of wheat, and wine, and oil, 
Till they perish and they suffer— some, 'tis whispered — 

down in hell 
Suffer endless anguish, others in Elysian valleys dwell, 
Resting weary limbs at last on beds of asphodel. 
Surely, surely, slumber is more sweet than toil, the shore 
Than labor in the deep mid-ocean, wind and wave and oar ; 
rest ye, brother mariners, we will not wander more. 

Alfred Tennyson. 



NATURE DESIGNED FOR OUR ENJOYMENT. 

From "Lectures to Young Men," by permission of Messrs. Fords, Howard & 
Hulbert, New York. 

THE necessity of amusement is admitted on all hands. 
There is an appetite of the eye, of the ear, and of every 
sense, for which God has provided the material. Gayety 
of every degree, this side of puerile levity, is wholesome 
to the body, to the mind, and to the morals. Nature is a 
vast repository of manly enjoyments. The magnitude of 
God's works is not less admirable than its exhilarating 
beauty. The rudest forms have something of beauty ; 
the ruggedest strength is graced with some charm ; the 
very pins and rivets and clasps of nature are attractive 
by qualities of beauty, more than is necessary for mere 
utility. The sun could go down without gorgeous clouds ; 
evening could advance without its evanescent brilliance ; 
trees might have flourished without symmetry; flowers 
have existed without odor, and fruit without flavor. When 



294 ADVANCED ELOCUTION 

I have journeyed through forests, where ten thousand 
shrubs and vines exist without apparent use; through 
prairies, whose undulations exhibit sheets of flowers in- 
numerable, and absolutely dazzling the eye with their 
prodigality of beauty — beauty, not a tithe of w T hich is 
ever seen by man — I have said, it is plain that God is 
Himself passionately fond of beauty, and the earth is His 
garden, as an acre is man's. God has made us like Him- 
self, to be pleased by the universal beauty of the w T orld. 
He has made provision in nature, in society, and in the 
family, for amusement and exhilaration enough to fill the 
heart with the perpetual sunshine of delight. 

Upon this broad earth, purfled with flowers, scented 
with odors, brilliant in colors, vocal with echoing and re- 
echoing melody, I take my stand against all demoralizing 
pleasure. Is it not enough that our Father's house is sc 
full of dear delights, that we must wander prodigal to the 
swine-herd for husks, and to the slough for drink ? — when 
the trees of God's heritage bend over our head and solicit 
our hand to pluck the golden fruitage, must we still go 
in search of the apples of Sodom, outside fair and inside 
ashes ? 

Men shall crowd to the circus to hear clowns, and see 
rare feats of horsemanship, but a bird may poise beneath 
the very sun, or flying downward, swoop from the high 
heaven ; then flit with graceful ease hither and thither, 
pouring liquid song as if it were a perennial fountain of 
sound — no man cares for that. 

Upon the stage of life, the vastest tragedies are perform- 
ing in every act; nations pitching headlong to their final 
catastrophe ; others, raising their youthful forms to begin 
the drama of existence. The world of society is as full of 
exciting interest as nature is full of beauty. The great 
dramatic throng of life is bustling along — the wise, the 
fool, the clown, the miser, the bereaved, the broken- 



AFTERWHILES 295 

hearted. Life minglea before us smiles and tears, sighs 
and laughter, joy and gloom, as the spring mingles 
the winter storm and summer sunshine. To this vast 
Theatre which God hath builded, where stranger plays are 
seen than ever author writ, man seldom cares to come. 
When God dramatizes, when nations act. or all the human 
kind conspire to educe the vast catastrophe, men sleep and 
snore, and let the busy scene go on, unlooked. unthought 
upon. ... It is my object then, not to withdraw the 
young from pleasure, but from unworthy pleasures ; not 
to lessen their enjoyments, but to increase them, by reject- 
ing the counterfeit and the vile. 

Hexry Watid Beecher. 



AFTERWHILES. 

Permission of The Bowen-Merrill Company, Indianapolis, Tnd. 

WHERE are they— the Afterwhiles— 
Luring us the lengthening miles 
Of our lives ? Where is the dawn 
With the dew across the lawn 
Stroked with eager feet the far 
Way the hills and valleys are ? 
Where the sun that smites the frown 
Of the eastward-gazer down? 
Where the rifted wreaths of mist 
O'er us, tinged with amethyst. 
Round the mountain's deep defiles ? 
Where are all the afterwhiles ? 

Afterwhile — and we will go 
Thither, yon. and to and fro — - 
From the stifling city-streets 
To the country's cool retreats — 



296 ADVANCED ELOCUTION 

From the riot to the rest 
. Where hearts beat the placidest ; 
Afterwhile, and we will fall 
Under breezy trees, and loll 
In the shade, with thirsty sight 
Drinking deep the blue delight 
Of the skies that will beguile 
Us as children — afterwhile. 

Afterwhile — and one intends 
To be gentler to his friends — 
To walk with them, in the hush 
Of still evenings, o'er the plush 
Of home-leading fields, and stand 
Long at parting, hand in hand : 
One, in time, will joy to take 
New resolves for some one's sake, 
And where then the look that lies 
Clear and pure in other eyes — 
He will soothe and reconcile 
His own conscience — afterwhile. 



Afterwhile — we have in view 
A far scene to journey to, — 
Where the old home is, and where 
The old mother waits us there, 
Peering, as the time grows late, 
Down the old path to the gate. 
How we'll click the latch that locks 
In the pinks and hollyhocks, 
And leap up the path once more 
Where she waits us at the door ! 
How we'll greet the dear old smile, 
And the warm tears — afterwhile! 



A VISIT TO BELLE YARD 297 

Ah, the endless afterwhiles ! 
Leagues on leagues, and miles on miles, 
In the distance far withdrawn, 
Stretching on, and on, and on, 
Till the fancy is footsore 
And faints in the dust before 
The last milestone's granite face, 
Hacked with : Here Beginneth Space. 
O far glimmering worlds and wings, 
Mystic smiles and beckonings, 
Lead us, through the shadowy aisles 
Out into the afterwhiles. 

James Whitcomb Riley. 



A VISIT TO BELLE YARD. 

From " Bleak House." 
(Adapted.) 

WHILE my guardian and I were in London we were 
constantly beset by home missionaries to visit 
Belle Yard, a narrow alley some distance from our hotel, 
so one bright morning we repaired thither. 

We soon found the chandler's shop. In it was a good- 
natured looking old woman with a dropsy or an asthma, 
or perhaps both. 

" Neckett's children?" said she, in reply to my inquiries. 
" Yes, surely, Miss. Up three pair, if you please. Door 
right opposite the stairs,*' and she handed me the key 
across the counter. 

I glanced at the key and glanced at her ; but she took 
it for granted that I knew what to do with it. As it could 
only be intended for the children's door. I came out with- 
out asking any more questions and led the way up the 
dark stairs. We went to the top room ; I tapped on the 



298 ADVANCED ELOCUTION 

door, and a little shrill voice inside said : " We are locked 
in. Mrs. Blinder's got the key I" 

I applied the key on hearing this and opened the door. 
In a poor room, with a sloping ceiling, and containing 
very little furniture, was a mite of a boy, some five or six 
years old, nursing and hushing a heavy child of eighteen 
months. There was no fire, though the weather was cold ; 
both children were wrapped in some poor shawls and tip- 
pets as a substitute. Their clothing was not so warm, 
however, but that their noses looked red and pinched and 
their small figures shrunken, as the boy walked up and 
down, nursing and hushing the child with its head on his 
shoulder. 

"Who has locked you up here alone?" we naturally 
asked. 

"Charley," said the boy, still gazing at us. 

" Is Charley your brother ?" 

" No ; she's my sister Charlotte. Father called her 
Charley." 

" Are there any more of you beside Charley?" 

" Me," said the boy, " and Emma," patting the limp 
bonnet of the child he was nursing, " and Charley — she's 
out a-washing." 

We were looking at each other and these two children, 
when there came into the room a very little girl, childish 
in figure, but shrewd and older looking in the face — pretty 
faced, too — wearing a womanly sort of bonnet much too 
large for her, and drying her bare arms on a womanly sort 
of apron. Her fingers were w r hite and wrinkled with wash- 
ing, and the soapsuds, which she wiped off her arms, were 
yet smoking. She had come running from some place 
in the neighborhood and had made all the haste she 
could. 

" Oh ! here's Charley," said the boy. The child he was 
nursing stretched forth its arms and cried to be taken by 



A VISIT TO BELLE YARD 299 

Charley. The little girl took it in a womanly sort of man- 
ner belonging to the apron and bonnet, and stood looking 
at us over the burden that clung to her most affection- 
ately. 

" Is it possible," whispered my guardian, as we put a 
chair for the little creature, " that this child takes care of 
and works for the rest ? Look at this ! For Heaven's 
sake, look at this !" 

It was a thing to look at. The three children, close 
together, and two of them relying on the third, and the 
third so young and yet with an air of age and steadiness 
that sat so strangely on the childish figure. 

" Charley," said my guardian, u how old are you?" 

" Over thirteen, sir," replied the child. 

" What a great age !" said my guardian ; " what a great 
age ! And do you live here alone with these babies ? How 
do you live ?" 

" Yes, sir," replied the child, looking up into his face 
with perfect confidence ; " since father died. I go out to 
w T ork. I'm a-washing to-day." 

" And when did your mother die? Poor mother !" 

" Mother died just after Emma was born," said the child, 
glancing at the face upon her bosom. " Then father said 
I was to be as good a mother to her as I could. And so I 
tried and worked at home. And that's how I know how. 
Don't you see. sir?" 

" And do you often go out and lock the babies up ?" 

" Yes, as often as I can. I lock the door to keep 'em 
safe. Tom ain't afraid of being locked up, are you, Tom ?" 

" Xo-o," said Tom, stoutly. 

" Then he's as good as gold," said the little creature. 
" And when Emma is tired he puts her to bed, and when 
he gets tired he goes to bed, too. And when I come home 
and light the candle and has a bit of supper, he gets up 
again and has it with me. Don't you, Tom ?" 



300 ADVANCED ELOCUTION 

" Oh, yes ! Charley," said Tom ; " that I do I" and either 
in this glimpse of the great pleasure of his life or in gratis 
tude and love for Charley, who was all in all to him, he 
laid his face among the scanty folds of her frock and passed 
from laughing into crying. 

It was the first time since our entrance that a tear had 
been shed among these children. The little orphan girl 
had spoken of their father and mother as if all that sorrow 
were subdued by the necessity of taking courage, and by 
her childish importance in being able to work and by her 
busy, bustling way. But now, when Tom cried, although 
she sat quite tranquil, looking quietly at us, and did not by • 
any movement disturb a hair of the head of either of her 
charges, I saw two silent tears fall down her face. I stood 
at the window pretending to gaze at the house tops when 
Mrs. Blinder came up. 

My guardian and she had a long talk about the little 
folks, and the former took it upon himself to see that their 
condition in the future should be different. 

We kissed Charley and took her down-stairs with us 
and stopped outside the house to see her run away to 
her work. I don't know where she was going, but we saw 
her run, such a little, little creature in a womanly bonnet 
and apron, through a covered way at the bottom of the 
court, and melt into the city's strife and sound, like a dew- . 
drop in an ocean. Charles Dickens, i 



FREEDOM'S AHEAD. 

NOW that Tom Dunstan's cold, 
Our shop is duller ; 
Scarce a story is told ! 
And our chat has lost the old 
Red republican color ! 



freedom's ahead 301 

Though he was sickly and thin, 

He gladdened us with his face. 
How, warming at rich man's sin, 
With bang of the fist, and chin 

Thrust out, he argued the case ! 
He prophesied folk should be free, 

And the money-bags be bled ; — 
" She's coming, she's coming !" said he; 
" Courage, boys ! Wait and see ! 

Freedom's ahead !" 

All day we sat in the heat, 

Like spiders spinning, 
Stitching full, fine, and fleet, 
While the old Jew on his seat 

Sat greasily grinning ; 
And there Tom said his say, 

And prophesied Tyranny's death ; 
And the tallow burnt all day, 
And we stitched and stitched away 

In the thick smoke of our breath, 
"Wearily, wearily, so wearily 

With hearts as heavy as lead ; — 
But, "Patience! she's coming!" said he; 
" Courage, boys ! Wait and see ! 

Freedom's ahead !" 



And at night when we took here 
The pause allowed to us, 

The paper came with the beer 

And Tom read, sharp and clear, 
The news out loud to us. 

And then in his witty way 
He threw the jest about. 



302 ADVANCED ELOCUTION 

The cutting things he'd say 
Of the wealthy and the gay ! 

How he turned them inside out ! 
And it made our breath more free 
To hearken to what he said ; — 
" She's coming, she's coming !" says he; 
" Courage, boys ! Wait and see ! 
Freedom's ahead !" 



But grim Jack Hart, with a sneer, 

Would mutter, " Master ! 
If Freedom means to appear, 
I think she might step here 

A little faster !" 
Then it was fine to see Tom flame 

And argue and prove and preach, 
Till Jack was silent for shame, 
Or a fit of coughing came 

O' sudden to spoil Tom's speech. 
Ah ! Tom had the eyes to see 

When Tyranny should be sped ; — 
" She's coming, she's coming !" said he ; 
" Courage, boys ! Wait and see ! 

Freedom's ahead !" 

But Tom was little and weak ; 

The hard hours shook him ; 
Hollower grew his cheek, 
And when he began to speak 

The coughing took him. 
Ere long the cheery sound 

Of his chat among us ceased, 
And we made a purse all round 

That he might not starve, at least. 



freedom's ahead 30S 

His pain was sorry to see, 

Yet there — on his poor sick-bed, 
" She's coming in spite of me ! 

Courage and wait," cried he, 
" Freedom's ahead !" 



A little before he died, 

Just to see his passion ! 
" Bring me a paper !" he cried, 
And then to study it tried 

In his old sharp fashion ; 
And with eyeballs glittering, 

His look on me he bent, 
And said that sayage thing 

Of the lords of the Parliament. 
Then darkening, smiling on me, 

" What matter if one be dead? 
She's coming, at least," said he; 
* Courage, boys ! Wait and see ! 

Freedom's ahead !" 

And now Tom Dunstan's cold 

The shop feels duller ; 
Scarce a story is told ; 
Our talk has lost the old 

Red republican color ! 
But we see a figure gray, 

And we hear a yoice of death, 
And the tallow burns all day, 
And we stitch and stitch away, 

In the thick smoke of our breath ; 
Ay, here in the dark sit we, 
While wearily, wearily, 

We hear him call from the dead : 



304 ADVANCED ELOCUTION 

" She's coming, she's coming," says he, 
" Freedom's ahead ! 



How long, Lord, how long 

Doth Thy handmaid linger ? 
She who shall right the wrong — 
Make the oppressed strong — 

Sweet morrow, bring her ! 
Hasten her over the sea, 

Lord, ere hope be fled ; 
Bring her to men and to me ; 
O slave, pray still on thy knee 

For the freedom ahead ! 

Robert Buchanan. 



OUR FALLEN HEROES. 

THE distinction of our volunteer army over all other 
armies of all times was its intelligence. Behind 
every musket was a thinking man. On the march, 
around the camp fire, in the hospital and the prison, and 
in letters to friends at home, these men discussed the 
issues at stake and the results that would follow defeat or 
victory with as much statesmanship and prophetic fore- 
sight as their representatives in Congress. Of the million 
volunteer soldiers, thousands were fitted by culture, ability, 
and character to be Presidents of the United States. 

Latour d'Auvergne was a grenadier of Napoleon's Old 
Guard. Bravest of the brave on every battle-field, he was 
tendered for distinguished services a sword bearing this 
inscription, " To the first grenadier of France;" but he re- 
fused it, saying, "Among us soldiers there is neither first 
nor last." Constantly declining promotion, and ever win- 
ning fresh laurels, he fell fighting gloriously for his coun- 



OUR FALLEN HEROES 6\JO 

try, and an imperial decree gave him a distinction never 
enjoyed by the proudest marshal of the empire. His name 
continued on the roll of his company, and when it was 
called the oldest sergeant answered, " Died on the field of 
honor.'' And this year and the next, and for the next 
decade, and centuries after, on the anniversary of this 
Decoration Day, when the roll-call in every churchyard 
and village cemetery of the men who died in the conflict 
is read, the answer of a grateful people will be, " Died 
upon the field of honor." 

There is an old epitaph in an English churchyard which 
quaintly says that " he who saves, loses ; he who spends, 
saves ; and he who gives away, takes it with him." These 
men gave away their lives, and took with them immortal 
glory and the gratitude of endless generations. They may 
repose in unknown graves south of the Potomac, or sleep 
beneath the sea, and yet theirs is a deathless fame. Poetry 
and eloquence will embalm their memories, and keep ever 
bright the recollection of their heroic deeds. 

" They never fail who die 
In a great cause. The block may soak their gore ; 
Their heads may sodden in the sun, their limbs 
Be strung to city gates and castle walls ; 
But still their spirit walks abroad. Though years 
Elapse, and others share as dark a doom, 
They but augment the deep and sweeping thoughts 
Which overpower all others, and conduct 
The world at last to freedom," 

Chauxcey M. Depew. 



20 



306 ADVANCED ELOCUTION 

WHY THEY TWINKLE. 

Permission of " Th^ Outlcok,'' New York. 

WHEN Eve had led her lord away, 
And Cain had killed his brother, 
The stars and flowers, the poets say, 
Agreed with one another 

To cheat the cunning tempter's art 

And teach the race its duty, 
By keeping on its wicked heart 

Their eyes of light and beauty. 

A million sleepless lids, they say, 

Will be at least a warning — 
And so the flowers would watch by day, 

The stars from eve to morning. 

On hill and prairie, field and lawn, 

Their dewy eyes upturning, 
The flowers still watch from reddening dawn 

Till western skies are burning. 

Alas ! each hour of daylight tells 

A tale of shame so crushing, 
That some turn white as sea-bleached shells, 

And some are always blushing. 

But when the patient stars look down 

On all their light discovers — 
The, traitor's smile, the murderer's frown, 

The lips of lying lovers — 



A TRIBUTE TO MOTHERHOOD 307 

They try to shut their saddening eyes, 

And in the vain endeavor 
We see them twinkling in the skies, 

And so they wink forever. 

Oliver Wendell Holmes. 



A TRIBUTE TO MOTHERHOOD. 

(From " The Princess.") 

ALONE, from earlier than I know. 
Immersed in rich foreshadowings of the world, 
I loved the woman ; he, that doth not, lives 
A drowning life, besotted in sweet self, 
Or pines in sad experience worse than death, 
Or keeps his wing'd affections dipt with crime : 
Yet was there one thro' whom I loved her, one 
Not learned, save in gracious household ways, 
Not perfect, nay, but full of tender wants, 
No Angel, but a dearer being, all dipt 
In Angel instincts, breathing Paradise, 
Interpreter between the Gods and men, 
"Who look'd all native to her place, and yet 
On tiptoe seem'd to touch upon a sphere 
Too gross to tread, and all male minds perforce 
Sway'd to her from their orbits as they moved 
And girdled her with music. Happy he 
With such a mother ! Faith in womankind 
Beats with his blood, and trust in all things high 
Comes easy to him, and tho' he trip and fall, 
He shall not blind his soul with clay. 

Tennyson. 



308 ADVANCED ELOCUTION 

THE DESPONDENT INVENTOR (XVI CENTURY). 

(From the "Last of the Barons/') 

AWFUL is the duel between Man and the Age in which 
he lives ! For the gain of posterity this inventor, Adam 
Warner, had martyrized existence — and the children had 
pelted him as he passed along the streets ! . . . Again 
he paced restlessly to and fro the narrow floor of his 
room. At last he approached the Model — the model of a 
mighty and stupendous invention ; the fruit of no chi- 
merical and visionary science — a great Promethean Tiling, 
that, once matured, would divide the Old World from the 
New, enter into all operations of Labor, animate all the 
future affairs, color all the practical doctrines, of active 
men. He paused before it, and addressed it as if it heard 
and understood him : " My hair was dark, and my tread 
was firm, when one night, a Thought passed into my 
soul — a thought to make Matter the gigantic slave of 
Mind. Out of this thought, thou, not yet born after five- 
and-twenty years of travail, wert conceived. My coffers 
were then full, and my name honored ; and the rich re- 
spected and the poor loved me. Art thou a devil, that 
has tempted me to ruin ; or a god that has lifted me above 
the earth ? I am old before my time — my hair is blanched, 
my frame is bowed, my wealth is gone, my name is 
sullied. And all, dumb Idol of Iron and the Element, all 
for thee ! I had a wife whom I adored — she died ; I 
forgot her loss in the hope of thy life. I have a child 
still — God forgive me — she is less dear to me than thou 
hast been. And now — " the old man ceased abruptly, and 
folding his arms, looked at the deaf iron sternly, as on a 
human foe. By his side was a huge hammer, employed 
in the toils of his forge ; suddenly he seized and swung 
it-aloft. One blow, and the labor of years was shattered 



THE GOOD OF IT 309 

into pieces! One blow! — But the heart failed him, and 
the hammer fell heavily to the ground. 

k * Ay !" he muttered, " true — true ; if thou, who hast de- 
stroyed all else, wert destroyed too, what were left me? 
Is it a crime to murder Man? — a greater crime to murder 
Thought, which is the life of all men. Come — I forgive 
thee !" 

And all that day, and all that night, the Enthusiast 
labored in his chamber, and the next day the remem- 
brance of the hootings, the pelting, the mob, was gone — 
clean gone from his breast. The Model began to move — 
life hovered over its wheels, and the Martyr of Science had 
forgotten the very world for which he, groaning and re- 
joicing, toiled ! E. Bulwer Lytton. 



THE GOOD OF IT. 

(a cynic's song.) 

QOME men strut proudly, all purple and gold, 

^ Hiding queer deeds 'neath a cloak of good fame ; 

I creep along braving hunger and cold 

To keep my heart stainless as well as my name. 
So, so, where is the good of it ? 

Some clothe bare Truth in fine garments of words, 
Fetter her free limbs with cumbersome state. 

With me, let me sit at the lordliest boards, 

" I love " means, I love ; and " I hate " means, I hate. 
But, but, where is the good of it ? 

Some have rich dainties and costly attire, 

Guests fluttering round them and duns at the door. 

I crouch alone at my plain board and fire, 
Enjoy what I pay for and scorn to have more. 
Yet, yet, what is the good of it ? 



310 ADVANCED ELOCUTION 

Some gather round them a phalanx of friends, 

Scattering affection like coin in a crowd. 
I keep my heart for the few Heaven sends, 

Where they'll find my name writ when I lie in my 
shroud. 

Still, still, where is the good of it ? 

Some toy with love ; lightly come, lightly go ; 

A blithe game at hearts, little worth, little cost. 
I staked my whole soul on one desperate throw, 

A life 'gainst an hour's sport. We played and I lost. 
Ha, ha, such w T as the good of it ! 

MORAL, ADDED ON HIS DEATH-BED. 

Turn the past's mirror backward ; its shadows removed, 
The dim, confused mass becomes softened, sublime ; 

I have worked, I have felt, I have lived, I have loved, 
And each was a step towards the goal I now climb. 
Thou, God, Thou sawest the good of it! 

Dinah Mulock Craik. 



THE FORSAKEN GARDEN. 

IN a coign of the cliff, between lowland and highland, 
At the sea-down's edge, between windward and lea, 
Wall'd round with rocks as an inland island, / 

The ghost of a garden fronts to the sea. 
A girdle of brushwood and thorn encloses 

The steep, square slope of the blossomless bed, 
Where the weeds that grew green from the graves of its 
roses, 

Now lie dead. 



THE FORSAKEN GARDEN 311 

The fields fall southward, abrupt and broken, 
To the low, last edge of the long lone land. 

If a step should sound, or a word be spoken, 

Would a ghost not rise at the strange guest's hand ? 

So long have the gray, bare walks lain guestless, 
Through branches and briars if a man make way, 

He shall find no life but the sea-wind's, restless 
Night and day. 

The dense, hard passage is blind and stifled, 
That crawls by a track none turn to climb 

To the strait, waste place that the years have rifled 
Of all but the thorns that are toucli'd not of time. 

The thorns he spares when the rose is taken ; 
The rocks are left when he wastes the plain. 

The wind that wanders, the weeds wind-shaken, 
These remain. 

Xot a flower to be prest of the foot that falls not ; 

As the heart of a dead man the seed-plots are dry : 
From the thicket of thorns whence the nightingale calls not, 

Could she call, there were never a rose to reply. 
Over the meadows that blossom and wither 

Rings but the note of the sea-bird's song : 
Only the sun and the rain come hither 
All year long. 

The sun burns sere and the rain dishevels 

One gaunt, bleak blossom of scentless breath ; 

Only the wind here hovers and revels 

In a sound where life seems barren as death. 

Here there was laughing of old, there was weeping, 
Haply, of lovers none ever will know, 

Whose eyes went seaward a hundred sleeping 
Years ago. 

%. %. ^ 5fc 5f: 5ft 



312 ADVANCED ELOCUTION 

All are as one now, roses and lovers, 

Not known of the cliffs and the fields and the sea. 
Not a breath of the time that has been, hovers 

In the air now soft of a summer to be. 
Not a breath shall there sweeten the seasons hereafter, 

Of the flowers or the lovers that laugh now and weep, 
When, as they that are free now of weeping and laughter, 
We shall sleep. 

Here death may deal not again forever: 

Here change may come not till all change end. 

From the graves they have made they shall rise up never, 
Who have left nought living to ravage and rend. 

Earth, stones and thorns of the wild-ground growing, 
When the sun and the rain live, these shall be 

Till a last wind's breath upon all these blowing 
Roll the sea. 

Till the slow sea rise and the sheer cliff crumbles, 

Till terrace and meadow the deep gulfs drink, 
Till the strength of the waves of the high-tides humble 

The fields that lessen, the rocks that shrink, 
Here now in his triumph when all things falter ; 

Stretch'd out on the spoils that his own hand spread, 
As a god self-slain on his own strange altar, 
Death lies dead. 

Algernon Charles Swinburne. 



THE GOOD SON. 

THERE is no virtue without a characteristic beauty to 
make it particularly loved of the good, and to make the 
bad ashamed of their neglect of it. To do what is right, 
argues superior taste as well as morals ; and those whose 
practice is evil feel an inferiority of intellectual power and 
enjoyment, even where they take no concern for a principle. 



THE GOOD SOX 313 

Doing well has something more in it than the fulfilling of 
a duty. It is a cause of a just sense of elevation of char- 
acter; it clears and strengthens the spirits; it gives higher 
reaches of thought ; it widens our benevolence, and makes 
the current of our peculiar affections swift and deep. 

^ 5f! %. %. %. %. 

Xo creature in the world has this character so finely 
marked in him as a respectful and affectionate son— par- 
ticularly in his relation to his mother. Every little atten- 
tion he pays her is not only an expression of filial attach- 
ment and a grateful acknowledgment of past cares, but is 
an evidence of a tenderness of disposition which moves 
us the more, because not looked on so much as an essen- 
tial property in a man's character, as an added grace, 
which is bestowed only upon a few. His regards do not 
appear like mere habits of duty, nor does his watchfulness 
of his mother's wishes seem like taught submission to her 
will. They are the native courtesies of a feeling mind, show- 
ing themselves amidst stern virtues and masculine energies, 
like gleams of light on points of rocks. They are delight- 
ful as evidences of power yielding voluntary homage to 
the delicacy of the soul. The armed knee is bent, and the 
heart of the mailed man laid bare. 

Feelings that would seem to be at variance with each 
other meet together and harmonize in the breast of a son. 
Every call of the mother which he answers to, and every 
act of submission which he performs, are not only so 
many acknowledgments of her authority, but also so 
many instances of kindness and marks of protecting 
regard. The servant and defender, the child and guardian, 
are all mingled in him. The world looks on him in this 
way ; and to draw upon a man the confidence, the respect, 
and the love of the world, it is enough to say of him, he 
is an excellent son. 

R. H. Dana. 



314 ADVANCED ELOCUTION 



ANCIENT GREEK CHANT OF VICTORY. 

10 ! they come, they come ! 
Garlands for every shrine ! 
Strike lyres to greet them home ; 
Bring roses, pour ye wine ! 

Swell, swell the Dorian flute 

Through the blue triumphant sky ! 

Let the cittern's tone salute 
The sons of victory. 

With the offering of bright blood 

They have ransomed hearth and tomb, 

Vineyard, and field, and flood; 
Io ! they come, they come ! 

Sing it where olives wave, 

And by the glittering sea, 
And o'er each hero's grave — 

Sing, sing, the land is free ! 

Mark ye the flashing oars, 

And the spears that light the deep? 
How the festal sunshine pours 

Where the lords of battle sweep ! 

Each hath brought back his shield ; — 

Maid, greet thy lover home ! 
Mother, from that proud field, 

Io ! thy son is come ! 

Who murmured of the dead ? 

Hush, boding voice ! We know 
That many a shining head 

Lies in its glory low. 



Bor> cratciiit's dinner 315 

Breathe not those names to-day ! 

They shall have their praise ere long, 
And a power all hearts to sway, 

In ever-burning song. 

But now shed flowers, pour wine, 

To hail the conquerors home ! 
Bring wreaths for every shrine — 

lo ! they come, they come ! 

Mrs. Hemaxs. 



BOB CRATCHIT'S DINNER. 

(An extract from "A Christmas Carol.") 

SOON the steeples called good people all to church and 
chapel, and away they came, flocking through the 
streets in their best clothes and with their gayest faces. 
And at the same time there emerged from scores of by- 
streets, lanes, and nameless turnings innumerable people 
carrying their dinners to the bakers' shops. 

Up then rose Mrs. Cratchit, Cratchit's wife, dressed out 
but poorly in a twice-turned gown, but brave in ribbons, 
which are cheap and make a goodly show for sixpence ; 
and she laid the cloth, assisted by Belinda Cratchit, second 
of her daughters, also brave in ribbons, while Master 
Peter Cratchit plunged a fork into the saucepan of potatoes, 
and, getting the corners of his monstrous shirt-collar 
(Bob's private property, conferred upon his son and heir 
in honor of the day) into his mouth, rejoiced to find himself 
so gallantly attired, and yearned to show his linen in the 
fashionable Parks. And now two smaller Cratchits, boy 
and girl, came tearing in, screaming that outside the 
baker's they had smelt the goose and known it for their 
own ; and, basking in luxurious thoughts of sage and 
onion, these young Cratchits danced about the table and 



316 ADVANCED ELOCUTION 

exalted Master Peter Cratchit to the skies, while he (not 
proud, although his collar nearly choked him) blew the 
fire, until the slow potatoes, bubbling up, knocked loudly 
at the saucepan-lid to be let out and peeled. 

" What has ever got your precious father then ?" said 
Mrs. Cratchit. " And your brother Tiny Tim ! and Martha 
warn't as late last Christmas day by half an hour!" 

" Here's Martha, mother," said a girl, appearing as she 
spoke. 

* " Here's Martha, mother !" cried the two young Cratchits. 
" Hurrah ! There's such a goose, Martha !" 

" Why, bless your heart alive, my dear, how late you 
are !" said Mrs. Cratchit, kissing her a dozen times and 
taking off her shawl and bonnet for her. 

" We'd a deal of work to finish up last night," replied 
the girl, " and had to clear away this morning, mother !" 

" Well ! Never mind so long as you are come," said 
Mrs. Cratchit. " Sit ye down before the fire, my dear, and 
have a warm, Lord bless ye !" 

" No, no ! There's father coming," cried the two young 
Cratchits, who were everywhere at once. " Hide, Martha, 
hide !" 

So Martha hid herself, and in came little Bob, the father, 
with at least three feet of comforter, exclusive of the fringe, 
hanging down before him ; and his threadbare clothes 
darned up and brushed, to look seasonable ; and Tiny Tim 
upon his shoulder. Alas for Tiny Tim, he bore a little 
crutch, and had his limbs supported by an iron frame ! 

u Why, where's our Martha?" cried Bob Cratchit, look- 
ing round. 

" Not coming," said Mrs. Cratchitt. 

" Not coming !" said Bob, with a sudden declension in 
his high spirits ; for he had been Tim's blood-horse all 
the way from church, and had come home rampant — " not 
coming upon Christmas day !" 



BOB CRATCHIT'S DINNER 317 

Martha didn't like to see him disappointed, if it were 
only in joke; so she came out prematurely from behind 
the closet door, and ran into his arms, while the two 
young Cratchits hustled Tiny Tim, and bore him off into 
the wash-house, that he might hear the pudding singing 
in the copper. 

" And how did little Tim behave ?" asked Mrs. Cratchit, 
when she had rallied Bob on his credulity and Bob had 
hugged his daughter to his heart's content. 

u As good as gold," said Bob, " and better. Somehow 
he gets thoughtful, sitting by himself so much, and thinks 
the strangest things you ever heard. He told me, coming 
home, that he hoped the people saw him in the church, 
because he was a cripple, and it might be pleasant to them 
to remember, on Christmas day, who made lame beggars 
walk and blind men see." 

Bob's voice was tremulous when he told them this, and 
trembled more when he said that Tiny Tim was growing 
strong and hearty. 

His active little crutch was heard upon the floor, and 
back came Tiny Tim before another word was spoken, 
escorted by his brother and sister, to his stool beside the 
fire ; and while Bob, turning up his cuffs, — as if, poor fel- 
low, they were capable of being made more shabby, — com- 
pounded some hot mixture in a jug with gin and lemons, 
and stirred it round and round and put it on the hob to 
simmer, Master Peter and the two ubiquitous young 
Cratchits went to fetch the goose, with which they soon 
returned in high procession. 

Mrs. Cratchit made the gravy (ready beforehand in a 
little saucepan) hissing hot; Master Peter mashed the 
potatoes with incredible vigor; Miss Belinda sweetened up 
the apple-sauce ; Martha dusted the hot plates ; Bob took 
Tiny Tim beside him in a tiny corner at the table ; the 
two young Cratchits set chairs for everybody, not forget- 



318 ADVANCED ELOCUTION 

ting themselves, and, mounting guard upon their posts, 
crammed spoons into their mouths, lest they should shriek 
for goose before their turn came to be helped. At last 
the dishes were set on and grace was said. It was suc- 
ceeded by a breathless pause, as Mrs. Cratchit, looking 
slowly all along the carving-knife, prepared to plunge it into 
the breast; but when she did, and when the long-expected 
gush of stuffing issued forth, one murmur of delight arose 
all round the board, and even Tiny Tim, excited by the 
two young Cratchits, beat on the table with the handle of 
his knife, and feebly cried, Hurrah ! 

There never was such a goose. Bob said he didn't be- 
lieve there ever was such a goose cooked. Its tenderness 
and flavor, size and cheapness, were the themes of univer- 
sal admiration. Eked out by apple-sauce and mashed 
potatoes, it was a sufficient dinner for the whole family ; 
indeed, as Mrs. Cratchit said with great delight (surveying- 
one small atom of a bone upon the dish), they hadn't ate 
it all at last ! Yet every one had had enough, and the 
youngest Cratchits in particular were steeped in sage and 
onion to the eyebrows ! But now, the plates being changed 
by Miss Belinda, Mrs. Cratchit left the room alone — too 
nervous to bear witnesses — to take the pudding up and 
bring it in. 

Suppose it should not be done enough ! Suppose it 
should break in turning out ! Suppose somebody should 
have got over the wall of the back yard and stolen it 
while they were merry with the goose — a supposition at 
which the two young Cratchits became livid! All sorts 
of horrors were supposed. 

Hallo ! A great deal of steam ! The pudding was out 
of the copper. A smell like a washing-day ! That was 
the cloth. A smell like an eating-house and a pastry- 
cook's next door to each other, with a laundress's next 
door to that ! That was the pudding ! In half a minute 



bop ckatchit's dinner 319 

Mrs. Cratchit entered — flushed, but smiling proudly — 
with the pudding, like a speckled cannon-ball, so hard 
and firm, blazing in half of half a quartern of ignited 
brandy, and bedight with Christmas holly stuck into the 
top. 

0, a wonderful pudding! Bob Cratchit said, and 
calmly too, that he regarded it as the greatest success 
achieved by Mrs. Cratchit since their marriage. Mrs. 
Cratchit said that, now the weight was off her mind, she 
would confess she had had her doubts about the quantity 
of flour. Everybody had something to say about it, but 
nobody said or thought it was at all a small pudding for a 
large famil} r . Any Cratchit would have blushed to hint 
at such a thing. 

At last the dinner was all done, the cloth was cleared, 
the hearth swept, and the fire made up. The compound 
in the jug being tasted and considered perfect, apples and 
oranges were put upon the table and a shovelful of chest- 
nuts on the fire. 

Then all the Cratchit family drew round the hearth, in 
what Bob Cratchit called a circle, and at Bob Cratchit's 
elbow stood the family display of glass — two tumblers and 
a custard-cup without a handle. 

These held the hot stuff from the jug, however, as well 
as golden goblets would have done; and Bob served it 
out with beaming looks, while the chestnuts on the fire 
sputtered and crackled noisily. Then Bob proposed : — 

"A merry Christmas to us all, my dears. God bless 
us !" 

Which all the family re-echoed. 

" God bless us every one !" said Tiny Tim, the last of all. 

Charles Dickens. 



320 ADVANCED ELOCUTION 



SUNRISE. 

MUCH, however, as we are indebted to our observatories 
for elevating our conceptions of the heavenly bodies, 
they present even to the unaided sight, scenes of glory which 
words are too feeble to describe. I had occasion, a few 
weeks since, to take the early train from Providence to 
Boston ; and for this purpose rose at two o'clock in the 
morning. Everything around was wrapt in darkness and 
hushed in silence, broken only by what seemed at that 
hour the unearthly clank and rush of the train. It was a 
mild, serene, midsummer's night — the sky was without a 
cloud — the winds were whist. The moon, then in the last 
quarter, had just risen, and the stars shone with a spectral 
lustre, but little affected by her presence. Jupiter, two 
hours high, was the herald of the day ; the Pleiades, just 
above the horizon, shed their sweet influence in the east; 
Lyra sparkled near the zenith ; Andromeda veiled her 
newly-discovered glories from the naked eye, in the 
south ; the steady pointers, far beneath the pole, looked 
meekly up from the depths of the north, to their sov- 
ereign. 

Such was the glorious spectacle as I entered the train. 
As we proceeded, the timid approach of twilight became 
more perceptible ; the intense blue of the sky began to 
soften ; the smaller stars, like little children, went first to 
rest; the sister beams of the Pleiades soon melted to- 
gether; but the bright constellations of the west and 
north remained unchanged. Steadily the wondrous trans- 
figuration went on. Hands of angels, hidden from mortal 
eyes, shifted the scenery of the heavens ; the glories of 
night dissolved into the glories of the dawn. The blue 
sky now turned more softly gray ; the great watch-stars 
shut up their holy eyes ; the east began to kindle. Faint 



THE SHADOW OF THE CROSS 321 

streaks of purple soon blushed along the sky ; the whole 
celestial concave was filled with the inflowing tides of the 
morning light, which came pouring down from above in 
one great ocean of radiance ; till at length, as we reached 
the Blue Hills, a flash of purple fire blazed out from above 
the horizon, and turned the dewy tear-drops of flower and 
leaf into rubies and diamonds. In a few seconds, the 
everlasting gates of the morning were thrown wide open, 
and the lord of day, arrayed in glories too severe for the 
gaze of man, began his state. 

I do not wonder at the superstition of the ancient 
Magians, who in the morning of the world went up to the 
hill-tops of Central Asia, and, ignorant of the true God, 
adored the most glorious work of His hand. But I am 
filled with amazement when I am told that in this enlight- 
ened age, and in the heart of the Christian world, there 
are persons who can witness this daily manifestation of 
the power and wisdom of the Creator, and yet say in their 
hearts, " there is no God." Edwakd Everett. 



THE SHADOW OF THE CROSS. 

(Abridged.) 

(Suggested from the well-known picture of Mr. Holman Hunt, in which the 
uplifted form of Christ, resting with extended arms from His labor in the car- 
penter's shop at Nazareth, throws upon the wall of the Virgin's house a figure 01 
a Cross.) 

LIGHT and Shadow ! Shadow and Light ! 
Twins that were born at the birth of the sun ! 
One the secret of all things bright; 
The secret of all things sombre, one. 

One the joy of the radiant day ; 

One the spell of the dolorous night : 
One at the dew-fall bearing sway ; 

One at the day-break, rosy and white. 
21 



322 ADVANCED ELOCUTION 

Sister and brother, born of one mother, 
Made of a thought of the Infinite One, 

Made by the wisdom of God — and none other— 
In times when the times were not begun. 

One with the morning star for its gem, 
Glad Eosphorus, herald of beams; 

One that wears for its diadem 

Pale, sad Hesperus, planet of dreams. 

One for the glory and one for the gloom ; 

One to show forth and one to shroud ; 
One for the birth and one for the tomb ; 

One for the clear sky and one for the cloud. 

Sister and brother, for ever and ever, 
Nowise disparted, and nowhere a-twain ; 

Mysteries no man's thinking shall sever ; 
Marvels none can miss or explain. 

Light, which without a shadow shines not! 

Shadow, which shows not unless by light! 
(For that which we see to sight combines not, 

Except by the sides that escape the sight.) 

Is this the parable ? this the ending ? 

That nothing lives for us unless with a foil ; 
That all things show by contrast and blending — 

Pleasure by Pain, and Rest by Toil? 

Strength by Weakness, and Gladness by Sorrow ; 

Hope by Despair, and Peace by Strife ; 
The Good by the Evil, the Day by the Morrow ; 

Love by Hatred, and Death by Life? 

?{£ 5j^ »•{> ?f» *f» 5jC 



THE SHADOW OF THE CROSS 323 

Far off — worlds off — in the Pleiads seven 

Is a Star of Stars — Alcyone — 
The orb which moves never in all the Heaven 

The centre of all sweet Light we see. 

And there, thou Shadow of Earth's pale seeming ! 

The wisest say no shadow can be, 
But perfect splendors, lucidly streaming, 

And Life and Light at intensity. 

Then why did the artist show it thus — 
The Sorrow of Sorrows personified — 

Painting the carpenter's Son for us 

And the Shadow behind of the Crucified ? 

Meek and sweet in the sun He stands, 
Drinking the air of His Syrian skies ; 

Lifting to heaven toil-wearied hands, 

Seeing " His Father " with those mild eyes ; 

Gazing from trestle and bench and saw, 
To the Kingdom kept for His rule above. 

O Christ, the Lord ! we see with awe ! 
Ah ! Joseph's Son ! we look with love ! 

Ah ! Mary Mother ! we watch with moans 
Marking that phantom thy sweet eyes see, 

That hateful Shadow upon the stones, 
That sign of a coming agony ! 

Did it happen so once in Nazareth ? 

Did a Christmas sun show such a sight, 
Making from Life a spectre of Death, 

Mocking our " Light of the World " with Light? 



324 ADVANCED ELOCUTION 

He tells us — this artist — one Christmas-tide, 
The sunset painted that ominous Cross ; 

The shadows of evening prophesied 
The hyssop to Him, and to us the loss. 

For, her pang is the pang of us, every one : 
Wherever the Light shines the Shadow is ; 

Where beams a smile must be heard a moan ; 
The anguish follows the flying bliss. 

Yon crown which the Magi brought to her, 
It makes a vision of brows that bleed ; 

Yon censer of spikenard and balm and myrrh, 
It looks on the wall like a " sponge and reed." 

And, therefore, long ago was it written — 

Of a Christmas to come in the realms of Light — 

" The curse shall depart and death shall be smitten, 
And then there shall be no more night." 

O Christ, our Lord, in that Shadowless Land, 
Be mindful of these sad shadows which lie! 

Look forth and mark what a woful band 
Of glooms attend us across Thy sky ! 

" Christmas !" and hear what wars and woe ! 

" Christmas !" and see what grief o'er all ! 
Lord Christ ! our suns shine out to show 

Crosses and thorns on Time's old wall ! 

So, if Thou art where that star gleams, 

Alcyone, or higher still, 
Send down one blessed ray which beams 

Free of all shadows — for they kill. 

Edwin Arnold. 



UTILIZING OUR FAILURES 325 

UTILIZING OUR FAILURES. 

Permission of " The Outlook," New York. 

EVERY man or woman who feels the responsibility of 
making the best use of opportunities, and who has 
high standards of work, feels at times a great depression 
from a sense of falling below the level of occasions and of 
doing the worst when the occasion called for the best. It 
happens very often to such persons that, after the most 
thorough preparation, the performance falls lamentably 
below the aim and leave3 behind it a sense of utter disap- 
pointment. This humiliation of spirit, which is the lot at 
times of all sensitive people who care more for their work 
than for themselves, may either become a source of weak- 
ness or a source of strength. It is the evidence of the 
divine possibilities of life that the defeats of to-day maybe 
made the forerunners of the victories of to-morrow, and 
that the consciousness of failure may become in itself a 
new element of success. It was said of Peter the Great 
that he learned the art of war at the hand of his enemies, 
and that he was taught how to win victories by suffering a 
long and discouraging series of defeats. To say this of a 
man is to pay him the very highest tribute. As a student 
in the great school of life, it is to credit him with that 
openness of mind, that forgetfulness of self, and that ab- 
sence of personal vanity which characterize the true 
learner in any field. For failure, if it comes through no 
fault of our own, drives us back upon our hold on ultimate 
aims. It makes us aware how variable and uncertain is 
our own strength, and it teaches us to rely, not upon our- 
selves, but upon the greatness of the things with which we 
identify ourselves. A great object persistently pursued 
has power to unfold a noble out of a very commonplace 
man or woman, and to develop an almost unsuspected 



326 ADVANCED ELOCUTION 

strength out of a mass of weakness. The shocks to our 
pride drive us out of ourselves into the greatness of the 
causes which we espouse ; and the defeats which we suffer, 
if we take them aright, confirm us in our loyalty to the 
things for which we fight. It is painful to fail when we 
have made every preparation to succeed ; it is humiliating 
to produce an impression of weakness when we wish to 
make an impression of strength ; but the supreme thing 
in life is to get our work done and to make the truth which 
we love prevail ; and if the discipline of failure can be 
made to work for this end, it is a discipline neither to be 
dreaded nor to be avoided. 

Lyman Abbott. 



O-U-G-H. 

I'M taught p-1-o-u-g-h 

Shall be pronounce u plow :" 
Zat's easy wen you know," I say; 
" Mon Anglais I'll get through." 

My teacher say zat in zat case 

O-u-g-h is " oo." 
And zen I laugh and say to him, 
" Zees Anglais makes me cough." 

He say, " Not coo, but in zat word 

O-u-g-h is < off.' " 
Oh ! sacre bleu ! such varied sounds 

Of words make me hiccough ! 

He say, " Again, mon friend ees wrong ! 

O-u-g-h is ' up ' 
In hiccough." Zen I cry, " No more! 

You make my throat feel rough." 



DESTRUCTION OF POMPEII 327 

" Non ! non !" he cry, " you are not right — 
O-u-g-h is ; ufi.' " 
I say, k * I try to speak your words, 
I can't prononz them, though!" 

" In time you'll learn, but now you're wrong, 

O-u-g-h is ' owe.' " 
" I'll try no more. I sail go macl — 

I'll drown me in ze lough !" 

" But ere you drown yourself," said he, 
" O-u-g-h is ' ock." 
He taught no more ! I held him fast ! 
And killed him wiz a rough ! 

Charles B. Loomis. 



DESTRUCTIOX OF POMPEII. 

(From " Last Days of Pompeii.") 

THE cloud, which had scattered . so deep a murkiness 
over the day, had now settled into a solid and im- 
penetrable mass. It resembled less even the thickest gloom 
of a night in the open air than the close and blind darkness 
of some narrow room. But in proportion as the blackness 
gathered, did the lightnings around Vesuvius increase in 
their vivid and scorching glare. Xor was their horrible 
beauty confined to the usual hues of fire ; no rainbow 
ever rivalled their varying and prodigal dyes. Now 
brightly blue as the most azure depth of a southern sky — 
now of a livid and snake-like green, darting restlessly to 
and fro as the folds of an enormous serpent — now of a 
lurid and intolerable crimson, gushing forth through the 
columns of smoke, far and wide, and lighting up the whole 
city from arch to arch — then suddenly dying into a sickly 
paleness, like the ghost of their own life ! 



328 ADVANCED ELOCUTION 

In the pauses of the showers, you heard the rumbling 
of the earth beneath, and the groaning waves of the tor- 
tured sea ; or, lower still, and audible but to the watch of 
intensest fear, the grinding and hissing murmur of the 
escaping gases through the chasms of the distant mountain. 
Sometimes the cloud appeared to break from its solid 
mass, and, by the lightning, to assume quaint and vast 
mimicries of human or of monster shapes, striding across 
the gloom, hurtling one upon the other, and vanishing 
swiftly into the turbulent abyss of shade; so that, to the 
eyes and fancies of the affrighted wanderers, the unsub- 
stantial vapors were as the bodily forms of gigantic foes — 
the agents of terror and of death. 

The ashes in many places were already knee-deep ; and 
the boiling showers which came from the steaming breath 
of the volcano forced their way into the houses, bearing 
with them a strong and suffocating vapor. In some places, 
immense fragments of rock, hurled upon the house roofs, 
bore down along the streets masses of confused ruin, 
which yet more and more, with every hour, obstructed the 
way ; and as the clay advanced, the motion of the earth 
was more sensibly felt — the footing seemed to slide and 
creep — nor could chariot or litter be kept steady, even on 
the most level ground. 

Sometimes the huger stones, striking against each other 
as they fell, broke into countless fragments emitting sparks 
of fire, which caught whatever was combustible within 
their reach ; and along the plains beyond the city the 
darkness was now terribly relieved ; for several houses, 
and even vineyards, had been set on flames ; and at vari- 
ous intervals, the fires rose sullenly and fiercely against 
the solid gloom. To add to this partial relief of the dark- 
ness, the citizens had, here and there, in the more public 
places, such as the porticos of temples and the entrances to 
the forum, endeavored to place rows of torches ; but these 



DESTRUCTION OF POMPEII 329 

rarely continued long; the showers and the winds ex- 
tinguished them, and the sudden darkness into which their 
fitful light was converted had something in it doubly ter- 
rible and doubly impressive on the impotence of human 
hopes, the lesson of despair. 

Frequently, by the momentary light of these torches, 
parties of fugitives encountered each other, some hurrying 
toward the sea, others flying from the sea back to the 
land ; for the ocean had retreated rapidly from the shore — 
an utter darkness lay over it, and, upon its groaning and 
tossing waves, the storm of cinders and rocks fell without 
the protection which the streets and roofs afforded to the 
land. Wild — haggard — ghastly with supernatural fears, 
these groups encountered each other, but without the leisure 
to speak, to consult, to advise ;. for the showers fell now 
frequently, though not continuously, extinguishing the 
lights, which showed to each band the death-like faces of 
the other, and hurrying ail to seek refuge beneath the 
nearest shelter. The whole elements of civilization were 
broken up. Ever and anon, by the flickering lights, you 
saw T the thief hastening by the most solemn authorities of 
the law, laden with, and fearfully chuckling over, the pro- 
duce of his sudden gains. If, in the darkness, wife was 
separated from husband, or parent from child, vain was 
the hope of reunion. Each hurried blindly and con- 
fusedly on. Nothing in all the various and complicated 
machinery of social life was left save the primal law r of 
self-preservation ! 

^ %■ ^ ^< ^ ^ 

In parts, where the ashes lay dry and uncommixed with 
the boiling torrents, cast upward from the mountain at 
capricious intervals, the surface of the earth presented a 
leprous and ghastly white. In other places, cinder and 
rock lay matted in heaps, from beneath which emerged 
the half-hid limbs of some crushed and mangled fugitive. 



330 ADVANCED ELOCUTION 

The groans of the dying were broken by wild shrieks of 
women's terror — now near, now distant — which, when 
heard in the utter darkness, were rendered doubly appalling 
by the crushing sense of helplessness and the uncertainty 
of the perils around ; and clear and distinct through all 
were the mighty and various noises from the Fatal Moun- 
tain ; its rushing winds ; its whirling torrents ; and, from 
time to time, the burst and roar of some more fiery and fierce 
explosion. And ever as the winds swept howling along 
the street, they bore sharp streams of burning dust, and 
such sickening and poisonous vapors, as took away, for 
the instant, breath and consciousness, followed by a rapid 
revulsion of the arrested blood, and a tingling sensation 
of agony trembling through every nerve and fibre of the 
frame. 

vt* v|^ vl* vj^ ^!> ^J> 

Suddenly the place became lighted with an intense and 
lurid glow. Bright and gigantic through the darkness, 
which closed around it like the walls of hell, the mountain 
shone — a pile of fire ! Its summit seemed riven in two ; 
or rather, above its surface there seemed to rise two mon- 
ster shapes, each confronting each, as Demons contending 
for a World. These were of one deep blood-red hue of 
fire, which lighted up the whole atmosphere far and wide ; 
but below, the nether part of the mountain was still dark 
and shrouded, save in three places, adown which flowed, 
serpentine and irregular, rivers of the molten lava. Darkly 
red through the profound gloom of their banks, they 
flowed slowly on as toward the devoted city. Over the 
broadest there seemed to spring a cragged and stupendous 
arch, from which, as from the jaws of hell, gushed the 
sources of the sudden Phlegethon. And through the 
stilled air was heard the rattling of the fragments of rock, 
hurtling one upon another as they were borne down the 
fiery cataracts— darkening, for one instant, the spot where 



DESTRUCTION OE POMPEII 331 

they fell, and suffused the next, in the burnished hues of 
the flood along which they floated ! 

% %. >|< ^ $ >£ 

But suddenly a duller shake fell over the air, and be- 
hold ! one of the two gigantic crests, into which the sum- 
mit had been divided, rocked and wavered to and fro ; 
and then, with a sound, the mightiness of which no 
language can describe, it fell from its burning base, and 
rushed, an avalanche of fire, down the sides of the moun- 
tain ! At the same instant gushed forth a volume of 
blackest smoke — rolling on, over air, sea, and earth. 

Another — and another — and another shower of ashes, 
far more profuse than before, scattered fresh desolation 
along the streets. Darkness once more fell upon the 
earth. 

Meekly, softly, beautifully, dawned at last the light over 
the trembling deep ! — the winds were sinking into rest — 
the foam died from the glowing azure of that delicious 
sea. Around the east, thin mists caught gradually the 
rosy hues that heralded the morning; Light was about to 
resume her reign. Yet, still, dark and massive in the 
distance, lay the broken fragments of the destroying cloud, 
from which red streaks, burning dimlier and more dim, 
betrayed -the yet rolling fires of the mountain of the 
" Scorched Fields." The white walls and gleaming 
columns that had adorned the lovely coasts were no more. 
Sullen and dull were the shores so lately crested by the 
cities of Herculaneum and Pompeii. Century after cen- 
tury shall the mighty Sea stretch forth her azure arms, 
and know them not — moaning round the sepulchres of 
the Lost ! 

E. Bulwer Lyttox. 



532 ADVANCED ELOCUTION 

KNEE-DEEP IN JUNE. 

Permission of The Bowen-Merrill Company, Indianapolis, Ind. 

TELL you what I like the best — 
'Long about knee-deep in June, 
'Bout the time strawberries melts 
On the vine, — some afternoon 
Like to jes' git out and rest, 
And not work at nothin' else ! 

Orchard's where I'd ruther be — 
Needn't fence it in fer me ! 
Jes' the whole sky ov^rnead, 

And the whole airth underneath — 
Sorto' so's a man kin breathe 
Like he ort, and kindo' has 
Elbow-room to keerlessly 

Sprawl out len'thways on the grass 

Where the shadders thick and soft 
As the kivvers on the bed 
Mother fixes in the loft 
Alius, when they's company ! 

Jes' a sorto' lazein' there — 
S'lazy, 'at you peek and peer 

Through the w T avin' leaves above, 

Like a feller 'ats in love 
And don't know it, ner don't keer ! 
Ever'thing you hear and see 

Got some sort o' interest — 

Maybe find a bluebird's nest 
Tucked up there conveenently 
Fer the boys 'ats apt to be 
Up some other apple-tree ! 



KNEE-DEEP IN JUNE 333 

Watch the a wallers skootin' past 
'Bout aa peort as you could ast; 

Er the Bob white raise and whiz 

Where some other's whistle is. 

Ketch a shadder down below. 
And look up to find the crow; 
Er a hawk away up there, 
'Pearantly froze in the air! 

Hear the old hen squawk, and squat 

Over every chick she's got, 
Suddent-like ! — And she knows where 

That-air hawk is, well as you ! 

You jes' bet yer life she do ! 
Eyes a-glitterin' like glass, 
Waitin' till he makes a pass ! 

Pee-wees 1 singing to express 

My opinion's second class, 

Yit you'll hear 'em more er less ; 

Sapsucks gittin' down to biz, 
Weeclin' out the lonesomeness ; 
Mr. Bluej ay, full o' sass, 

In them base-ball clothes o' his, 
Sportin' 'round the orchard jes' 
Like he owned the premises ! 

Sun out in the fields kin sizz, 
But flat on yer back, I guess, 

In the shade's where glory is ! 
That's jes' what I'd like to do 
Sticldy f er a year er two ! 

Plague ! ef they aint sompin' in 
Work 'at kindo' goes ag'in 
My convictions ! — 'long about 



334 ADVANCED ELOCUTION 

Here in June especially ! — 
Under some old apple-tree, 

Jes' a-restin' through and through, 
I could git along without 
Nothin' else at all to do 
Only jes' a-wishin' you 
Was a-gittin' there like me, 
And June was eternity ! 

Lay out there and try to see 
Jes' how lazy you kin be ! — 

Tumble round and souse yer head 
In the clover-bloom, er pull 

Yer straw hat acrost yer eyes, 
And peek through it at the skies, 
Thinkin' of old chums 'ats dead, 
Maybe, smilin' back at you 
In betwixt the beautiful 

Clouds o' gold and white and blue ! 
Month a man kin railly love — 
June, you know, I'm talkin' of! 

March aint never nothin' new ! 
April's altogether too 

Brash fer me ! and May — I jes' 
'Bominate its promises, — 
Little hints o' sunshine and 
Green around the timber-land — 
A few blossoms, and a few 
Chip-birds, and a sprout er two — 
Drap asleep, and it turns in 
'Fore daylight and snows agin ! 
But when June comes — Clear my throat 

With wild honey ! Kench my hair 
In the dew ! and hold my coat ! 



DANGERS TO OUR REPUBLIC 335 

Whoop out loud ! and throw my hat ! 
June wants me, and I'm to spare ! 
Spread them shadders anywhere, 
I'll git down and waller there, 

And obleeged to you at that ! 

James Whitcomb Riley. 



DANGERS TO OUR REPUBLIC. 

WHO are this host of voters crowding to use the free- 
man's right at the ballot-box ? In all the dread 
catalogue of mortal sins there is not one but, in that. 
host of voters, there are hearts that have willed and hands 
that have perpetrated it. 

The gallows has spared its victims, the prison has re- 
leased its tenants ; from dark cells, where malice had 
brooded, where revenge and robbery had held their nightly 
rehearsals, the leprous multitude is disgorged and comes 
up to the ballot-box to foredoom the destinies of this 
nation. 

But look again, at that deep and dense array of igno- 
rance, whose limits the eye cannot discover. Its van 
leans against us here, its rear is beyond the distant hills. 
They, too, in this hour of their country's peril, have come 
up to turn the folly of which they are not conscious into 
measures which they cannot understand by votes which 
they cannot read. Nay, more, and worse ! for, from the 
ranks of crime emissaries are sallying forth toward the 
ranks of ignorance, shouting the war-cries of faction, and 
flaunting banners with lying symbols, such as cheat the 
eye of a mindless brain ; and thus the hosts of crime are 
to lead on the hosts of ignorance in their assault upon 
Liberty and Law ! 

What now shall be done to save the citadel of freedom, 



336 ADVANCED ELOCUTION 

where are treasured all the hopes of posterity ? Or, if we 
can survive the peril of such a day, what shall be done to 
prevent the next generation from sending forth still more 
numerous hordes, afflicted with deeper blindness and in- 
cited by darker depravity ? 

Are there any here who would counsel us to save the 
people from themselves by wresting from their hands this 
formidable right of ballot? Better for the man who 
would propose this remedy to an infuriated multitude 
that he should stand in the lightning's path as it descends 
from heaven to earth. 

And answer me this question, you who would re-conquer 
for the few the power which has been won by the many — 
you who would disfranchise the common mass of man- 
kind, and re-condemn them to become helots and bondmen 
and feudal serfs — tell me, were they again in the power of 
your castes, would you not again neglect them, again op- 
press them, again make them slaves ? 

Better that these blind Samsons, in the wantonness of 
their gigantic strength, should tear down the pillars of the 
Republic, than that the great lesson which Heaven, for six 
thousand years, has been teaching to the world should be 
lost upon it — the lesson that the intellectual and moral 
nature of man is the one thing precious in the sight of 
God, and therefore that, until this nature is cultivated 
and enlightened and purified, neither opulence nor power 
nor learning nor genius nor domestic sanctity nor the holi- 
ness of God's altars can ever be safe. 

Until the immortal and godlike capacities of every being 
that comes into the world are deemed more worthy, are 
watched more tenderly than any other things, no dynasty 
of men nor form of government can stand or shall stand 
upon the face of the earth ; and the force or the fraud 
which would seek to uphold them shall be but " as fetters 
of flax to bind the flame." Horace Mann. 



A TBIBDTE TO WOMAN' 337 

A TRIBUTE TO WOMAN. 

(From " Drama of Exi'e.*') 

HENCEFORWARD, woman, rise 
To thy peculiar and best attitudes 
Of doing good and of enduring ill ; 
Of comforting for ill, and teaching good, 
And reconciling all that ill and good 
Unto the patience of a constant hope. 
.... If sin came by thee, 
And by sin, death, the ransom, righteousness, 
The heavenly life and compensative rest 
Shall come by means of thee. If woe by thee 
Had issue to the world, thou shalt go forth 
An angel of the woe thou didst achieve ; 
Found acceptable to the w T orld instead 
Of others of that name, of whose bright steps 
Thy deed stripped bare the hills. Be satisfied ; 
Something thou hast to bear through womanhood — 
Peculiar suffering answering to the sin ; 
Some pang paid down for each new human life, 
Some weariness in guarding such a life ; 
Some coldness from the guarded ; some mistrust 
From those thou hast too well served ; from those beloved 
Too loyally, some treason; feebleness 
Within thy heart and cruelty without ; 
And pressure of an alien tyranny, 
With its dynastic reasons of larger bones 
And stronger sinews. But go to ! thy love 
Shall chant itself its own beatitudes, 
After its own life-working. A child's kiss 
Set on thy sighing lips, shall make thee glad. 
A poor man served by thee, shall make thee rich ; 
An old man helped by thee shall make thee strong ; 
Thou shalt be served thyself by every sense 
Of service which thou renderest," 

22 Mrs. Browning. 



338 ADVANCED ELOCUTION 



THE POWER OF FREE IDEAS. 

THE American Revolution was not the struggle of a class, 
but of a people. A two-penny tax on tea or paper was 
not the cause, it was only the occasion of the Revolution. 
The spirit which fought the desperate and disastrous battle 
on Long Island was not a spirit which could be guided by 
the promise of sugar gratis. The chance of success was 
slight ; the penalty of failure was sure ; but they believed 
in God ; they kissed wife and child, left them in His hand, 
and kept their powder dry. 

Then to Valley Forge, the valley of the shadow of death, 
with feet bleeding upon the sharp ground, with hunger, 
thirst, and cold dogging their steps ; with ghastly death 
waiting for them in the snow, they bore that faith in ideas 
which brought their fathers over a pitiless sea to a pitiless 
shore. Ideas were their food ; ideas were their coats and 
camp-fires. They knew that their ranks were thin and raw, 
and the enemy trained and many ; but they knew, also, 
that the only difficulty with the proverb that " God fights 
upon the side of the strongest," is that it is not true. If 
you load your muskets with bullets only, the result is sim- 
ply a question of numbers ; but one gun loaded with an 
idea is more fatal than the muskets of a whole regiment. 
A bullet kills a tyrant, but an idea kills tyranny. 

What chance have a thousand men fighting for a six- 
pence a day against a hundred fighting for life and liberty, 
for home and native land? In such hands the weapons 
themselves feel and think. And so the family firelocks 
and rusty swords, the horse-pistols and old scythes of our 
fathers thought terribly at Lexington and Monmouth, at 
Saratoga and Eutaw Springs. The old Continental mus- 
kets thought out the whole Revolution. The English and 
Hessian arms were better and brighter than ours, but they 



THE POWER OF FREE IDEAS 339 

were charged with saltpetre ; ours were loaded and rammed 
home with ideas. 

Why is it that of late years there is a disposition to 
smile at the great faith of our fathers, to excuse it, to ex- 
plain it away, or even to sneer at it as an abstraction or a 
glittering generality ? Have modern rhetoricians found 
something surer than moral principles? Have they dis- 
covered a force in politics subtler and more powerful than 
the Divine law? or a loftier object of human government 
than universal justice? You may pluck the lightning 
harmless from the clouds, but there is no conductor for 
the divine rage of a people demanding its national 
rights. 

What are your spears, Xerxes? what are your slings, 
proud Persian, with your two million soldiers sheeting the 
plains of Greece with splendor and roaring, like the jubi- 
lant sea, along the Pass of Thermopylae ? There stands 
Leonidas with his three hundred, rock-like ; and they beat 
you back with an idea. 

Bourbon of Xaples ! You may extinguish iEtna, but 
the fire that burns in the Sicilian heart is immortal, in- 
extinguishable. 

Yes ! it is an idea, invisible, abstract, but it has molded 
all human history to this hour. Liberty is justified of her 
children. Whom does the world at this moment fold to 
its heart? Who are held up before our eyes by Provi- 
dence, like bullets plainly displayed before they are 
dropped into the barrel and shot home to the mark of 
God's purpose? Who now walk through the world, each 
step giving life and liberty and hope to the people? By 
the blessing of God, the contest has changed from the 
sword to the ballot ; and the hope of liberty secured by 
law was never in the history of man so bright as it is to- 
day. 

George William Curtis. 



340 ADVANCED ELOCUTION 



THE MILLER OF DEE. 



THE moon was afloat, 
Like a golden boat 
On the sea-bine depths of the sky, 
When the miller of Dee, 
With his children three, 
On his fat, red horse rode by. 

" Whither away, miller of Dee ? 
Whither away so late?" 
Asked the tollman old, with cough and sneeze, 
As he passed the big toll-gate. 

But the miller answered him never a word, 

Never a word spake he. 
He paid his toll, and he spurred his horse, 

And rode on with his children three. 

" He's afraid to tell !" quoth the old tollman, 

" He's ashamed to tell f" quoth he. 
" But I'll follow you up and find out where 
You are going, O miller of Dee !" 

The moon was afloat, 

Like a golden boat 
Nearing the shore of the sky, 

When, with cough and wheeze, 

And hands on his knees, 
The old tollman passed by. 

" Whither away, tollman old ? 
Whither away so fast?" 
Cried the milkmaid who stood at the farm-yard bars, 
When the tollman old swept past. 



THE MILLER OF DEE 341 

The tollman answered her never a word ; 

Never a word spake he. 
Scant breath had he at the best to chase 

After the miller of Dee. 

"He won't tell where!" 

Said the milkmaid fair, 
" But I'll find out i" cried she. 
And away from the farm, 
With her pail on her arm, 
She followed the miller of Dee. 

The parson stood in his cap and gown, 

Under the old oak tree. 
" And whither away with your pail of milk, 

My pretty milkmaid ?" said he ; 
But she hurried on w r ith her brimming pail, 

And never a w r ord spake she. 

" She won't tell where !" the parson cried. 
" It's my duty to know," said he. 
And he followed the maid w T ho followed the man, 
Who followed the miller of Dee. 

After the parson, came his wife, 

The sexton he came next. 
After the sexton the constable came, 

Troubled and sore perplext. 

After the constable, two ragged boys, 

To see wdiat the fun would be; 
And a little black dog, with only one eye, 
Was the last of the nine who, with groan and sigh, 

Followed the miller of Dee. 



342 ADVANCED ELOCUTION 

Night had anchored the moon, 
Not a moment too soon, 

Under the lee of the sky ; 
For the wind it blew, 
And the rain fell, too, 

And the river of Dee ran high. 

He forded the river, he climbed the hill, 

He and his children three ; 
But wherever he went they followed him still, 

That wicked miller of Dee ! 

Just as the clock struck the hour of twelve 

The miller reached home again ; 
And when he dismounted and turned — behold! 
Those who had followed him over the wold 

Came up in the pouring rain. 

Splashed and spattered from head to foot, 

Muddy and wet and draggled, 
Over the hill and up to the mill, 

That wet company straggled. 

They all stopped short ; and then out spake 
The parson, and thus spake he : 
" What do you mean by your conduct to-night, 
You wretched miller of Dee ?" 

" I went for a ride, a nice cool ride, 
I and my children three ; 
For I took them along, as I always do," 
Answered the miller of Dee. 

" But you, my friends, I would like to know 
Why you followed me all the way ?" 
They looked at each other — " We were out for a walk, 
A nice cool walk !" said they. 

Eva L. Ogden. 



success 343 



SUCCESS. 

By permission of and arrangement with Houghton, Mifflin & Co., Boston, Mass. 

EVERY man must patiently bide his time. He must 
wait. More particularly in lands like my native 
land, where the pulse of life beats with such feverish and 
impatient throbs, is the lesson needful. Our national 
character wants the dignity of repose. We seem to live 
in the midst of a battle — there is such a din, such a hur- 
rying to and fro. In the streets of a crowded city it is 
difficult to walk slowly. You feel the rushing of the 
crowd, and rush with it onward. In the press of our life 
it is difficult to be calm. In this stress of wind and tide 
all professions seem to drag their anchors, and are swept 
out into the main. 

The voices of the Present say, " Come I" But the voices 
of the Past say, " Wait !" With calm and solemn foot- 
steps the rising tide bears against the rushing torrent up- 
stream, and pushes back the hurrying waters. With no 
less calm and solemn footsteps, nor less certainty, does a 
great mind bear up against public opinion, and push back 
its hurrying stream. 

Therefore should every man wait — should bide his 
time. Not in listless idleness, not in useless pastime, 
not in querulous dejection — but in constant, steady, cheer- 
ful endeavors, always willing and fulfilling and accom- 
plishing his task, that, when the occasion comes, he may 
be equal to the occasion. 

And if it never comes, what matters it ? What matters 
it to the world whether you or I or another man did such 
a deed or wrote such a book, so be it the deed and book 
were well done? It is the part of an indiscreet and 
troublesome ambition to care too much about fame — 
about what the world says of us ;--to be always looking 



344 ADVANCED ELOCUTION 

into the faces of others for approval ; to be always anxious 
for the effect of what we do and say ; to be always shouting 
to hear the echo of our own voices. 

H. W. Longfellow. 



THE FIRE BY THE SEA. 

From Mary Clemmer Ames' Life of Alice and Phoebe Cary. 

By permission of and arrangement with Messrs. Houghton, Mifflin & Co., pub- 
lishers of the works of Alice and Phoebe Cary. 

THERE were seven fishers, with nets in their hands, 
And they walked and talked by the seaside sands ; 
Yet sweet as the sweet dew fall 
The words they spake, though they spake so low, 
Across the long, dim centuries flow, 
And we know them, one and all — 
Aye ! know them and love them all. 

Seven sad men in the days of old, 
And one was gentle, and one was bold, 

And they walked with downcast eyes ; 
The bold was Peter, the gentle was John, 
And they all w T ere sad, for the Lord was gone, 

And they knew not if He would rise — 

Knew not if the dead would rise. 

The livelong night, till the moon went out 
In the drowning waters, they beat about ; 

Beat slow through the fog their way, 
And the sails drooped down with wringing wet, 
And no man drew but an empty net, 

And now 'twas the break of day — 

The great, glad break of day. 

" Cast in your nets on the other side !" 
('Twas Jesus speaking across the tide :) 
And they cast and were dragging hard ; 



THE FIRE BY THE SEA 3-15 

But that disciple whom Jesus loved 
Cried straightway out. for his heart was moved : 
" It is our risen Lord — 
Our Master, and our Lord !" 

Then, Simon, girding his fisher's eoat. 
Went over the nets and out of the boat — 

Aye ! first of them all was he ; 
Repenting sore the dismal past, 
He feared no longer his heart to cast 

Like an anchor into the sea — 

Down deep in the hungry sea. 

And the others, through the mists so dim, 
In a little ship came after him, 

Dragging their net through the tide ; 
And when they had gotten close to the land 
They saw a fire of coals on the sand, 

And, with arms of love so wide, 

Jesus, the crucified ! 

'Tis long, and long, and long ago 
Since the rosy lights began to flow 

O'er the hills of Galilee ; 
And with eager eyes and lifted hands 
The seven fishers saw on the sands 

The fire of coals by the sea — 

On the wet, wild sands by the sea. 

'Tis long ago, yet faith in our souls 
Is kindled just by that fire of coals 

That streamed o'er the mists of the sea, 
AVhere Peter, girding his fisher's coat, 
Went over the nets and out of the boat, 
To answer, " Lov'st thou me ?" 
Thrice over, "Lov'st thou me?" 

Phcebe Caey. 



346 ADVANCED ELOCUTION 



OLD DADDY TURNER. 

rnHIS was the picture in front of " Old Daddy Turner's " 
-L cabin in the " Kaintuck " quarter the other afternoon : 
Two colored men sitting on a wash-bench, silent and sor- 
rowful ; an old clog sleeping in the sun at their feet ; and a 
colored woman calling to a boy who was on the fence, 
" Now, Jeems Henry, you git right down from dat ! Doan' 
you know dat Daddy Turner am jist on de p'int of dyin' 
and gwine up to hebben V 

Here was the picture inside. The poor old white- 
headed man lying on his dying bed, flesh wasted away and 
strength departed. Near him sat his faithful old wife, 
rocking to and fro and moaning and grieving. Farther 
away was a colored man and woman, solemn-faced and 
sad-hearted, and shaking their heads as they cast glances 
toward the bed. For a long time the old man lay quiet 
and speechless, but at length he signed to be propped up. 
A sun as warm as spring-time poured into the room. He 
took notice of it, and a change came to his face as his eyes 
rested upon his grieving wife. 

" Ize bin gwine back in my mind," he whispered, as he 
reached out his thin hand for her to clasp. " Fur ober fo'ty 
y'ars we's trabbled 'long de same path. We sung de same 
songs, we prayed de same prayers; we had hold of haiVs 
when we 'lited in de gospel ranks, an' sot our faces to'rds 
de golden gates of hebben. Ole woman, Ize gwine to part 
wid you ! Yes, Ize gwine ter leave yer all alone." 

" Daddy ! Daddy !" she wailed as she leaned over 
him. 

" Doan't take on so, chile ! It's de Lawd's doin's, not 
mine. To-morrow de sun may be as bright an' warm, but 
de ole man won't be heah. All de arternoon Ize had 
glimpses of a shady path leadin' down to de shor' of a big 



OLD DADDY TURNER 347 

broad ribber. Ize seen people gwine clown dar to cross 
ober, an' in a leetle time I'll be wid 'em." 

She put her wrinkled face on the pillow beside his, and 
sobbed ; and he placed his hand on her head, and said : — 

" It's de Lawd, chile, — de bressed Lawd ! Chile, Ize tried 
to be good to yer. You has been good to me. We am 
nuffin but ole cull'd folks, po' in ebery ting, but try in' to 
do right by ebery body. When dey tole me I'd got to die, 
I wasn't sartin if de Lawd wanted a po' old black man like 
me up dar. Yes, chile, He will ! Dis mawnin' I heard de 
harps playin', cle rustle of wings, an' a cloud sorter lifted 
up, an' I got a cl'ar view right frew de pearly gates. I saw 
ole slaves an' nayburs dar, an' de} r was jist as white as any- 
body ; an' a hundred han's beckoned me to come right up 
dar 'mong 'em." 

" Daddy ! I'll be all alone — all alone !" she wailed. 

" Hush, chile ! Ize gwine to be lookin' down on ye. Ize 
gwine to put my han' on yer head an' kiss ye when yer 
heart am big wid sorrow ; an' when night shets down, an' 
you pray to de Lawd, I'll be kneelin' long side of ye. Ye 
won't see me, but 111 be wid ye. You's ole an' gray. It 
won't be long before yell git de summons. In a little time 
de cloud will lif fur ye, an' 111 be right dar by de pearly 
gates to take ye in my arms." 

" But I can't let you go ; I will hold you down heah wid 



me 



|J3 



" Chile ! Ize sorry for ye, but Ize drawin' nigh dat shady 
path. Hark ! I kin h'ah de footsteps of de mighty parade 
of speerits marchin' down to de broad ribber ! Dey will 
dig a grave, an' lay my ole bones dar, an' in a week all de 
world but you will forgit me. But doan' grieve, chile. De 
Lawd isn't gwine to shet de gates on me 'cause I'm ole an' 
po' an' black. I kin see dem shiniir way up dar — see our 
boy at de gate — ha'h de sweetest music dat angels kin play! 
Light de lamp, chile, 'cause de night has come !" 



348 ADVANCED ELOCUTION 

" Oh ! he's gwine — he's gwine !" she wailed, as her tears 
fell upon his face. 

" Chile ! hold my han' ! Ober heah am de path. I 
kin see men an' women an'chil'en marchin' 'long ! Furder 
down am de sunlight. It shines on de great ribber. Ober 
de ribber am — de — gates — of " — 

Of heaven ! On earth, old and poor and low- : beyond 
the gates, an angel with the rest. 

Detroit Free Press. 



A MOTHER'S LAMENT. 

WHERE art thou, my beloved son ! 
Where art thou ! worse to me than dead? 
Oh ! find me, prosperous or undone ! 

Or, if the grave be now thy bed, 
Why am I ignorant of the same, 
That I may rest ; and neither blame 
Nor sorrow may attend thy name? 

Seven years, alas ! to have received 

No tidings of an only child ; 
To have despair'd, have hoped, believed, 

And been forevermore beguiled — 
Sometimes with thoughts of very bliss ! 
I catch at them, and then I miss ; 
Was ever darkness like to this ? 

He was among the prime in worth, 

An object beauteous to behold ; 
Well born, well bred ; I sent him forth 

Ingenuous, innocent, and bold ; 
If things ensued that wanted grace 
As hath been said, they were not base, 
And never blush was on my face. 



a mother's lament 349 

Ah ! little doth the young one dream, 
When full of play and childish cares, 

What power is in his wildest scream 
Heard by his mother unawares ! 

He knows it not, he cannot guess ; 

Years to a mother bring distress, 

But do not make her love the less. 

Neglect me ! Xo, I suffered long 

From that ill thought, and, being blind, 

Said ,; Pride shall help me in my wrong; 
Kind mother have I been ; as kind 

As ever breathed ;" and that is true ; 

I've wet my path with tears like dew 

Weeping for him when no one knew. 

My son. if thou be humbled, poor, 

Hopeless of honor and of gain, 
Oh ! do not dread thy mother's door ; 

Think not of me with grief and pain ; 
I now can see with better eyes, 
And worldly grandeur I despise, 
And fortune with her gifts and lies. 

Alas ! the fowls of heaven have wings, 
And blasts of heaven will aid their flight ; 

They mount — how short a voyage brings 
The wanderers back to their delight! 

Chains tie us down by land and sea ; 

And wishes, vain as mine, may be 

All that is left to comfort thee. 

Perhaps some dungeon hears thee groan, 
Maim'd, mangled by inhuman men; 

Or thou, upon a desert thrown, 
Inheritest the lion's den : 



350 ADVANCED ELOCUTION 

Or hast been summon'd to the deep : 
Thou, thou, and all thy mates, to keep 
An incommunicable sleep. 

I look for ghosts, but none will force 
Their way to me; 'tis falsely said 

That there was ever intercourse 
Between the living and the dead ; 

For surely then I should have sight 

Of him I wait for day and night, 

With love and longings infinite. 

My apprehensions come in crowds ; 

I dread the rustling of the grass ; 
The very shadows of the clouds 

Have power to shade me as they pass ; 
I question things, and do not find 
One that will answer to my mind, 
And all the world appears unkind. 

Beyond participation lie 

My troubles, and beyond relief. 
If any chance to heave a sigh, 

They pity me, and not my grief. 
Then come to me, my son, or send 
Some tidings that my woes may end. 
I have no other earthly friend. 

William Wordsw t orth. 



THE POWER OF MUSIC. 

SOME years since I attended the National Peace Jubilee 
held in Boston. Forty thousand people sat or stood in 
the great Coliseum erected for that purpose. Thousands of 
wind and stringed instruments. Twelve thousand trained 



THE POWER OF MUSIC 351 

voices. The masterpieces of all ages rendered hour after 
hour, and day alter day — Handel's "Judas Maccabaeus," 

Spohr's " Last Judgment,*' Beethoven's " Mount of Olives," 
Haydn's " Creation," Mendelssohn's " Elijah," Meyerbeer's 
" Coronation March," rolling on and up in surges that 
billowed against the heavens. The mighty cadences 
within were accompanied on the outside by the ringing 
of the bells of the city and cannon on the commons, 
discharged by electricity, in exact time with the music, 
thundering their awful bars of a harmony that astounded 
all nations. 

Sometimes I bowed my head and wept. Sometimes I 
stood up in the enchantment, and sometimes the effect 
was so overpowering I felt I could not endure it. When 
all the voices were in full chorus, and all the batons in full 
wave, and all the orchestra in full triumph, and a hundred 
anvils under mighty hammers were in full clang, and all 
the towers of the city rolled in their majestic sweetness. 
and the whole building quaked with the boom of thirty 
cannon, Parepa Rosa, with a voice that will never again 
be equaled on earth until the archangelic voice proclaims 
that time shall be no longer, rose above all other sounds in 
her rendering of our national air, the Star Spangled 
Banner. It was too much for a mortal, and quite 
enough for an immortal, to hear, and while some fainted, 
one womanly spirit, released under its power, sped away 
to be with God. 

Lord, our God, quickly usher in the whole world's 
peace jubilee, and all islands of the sea join the five con- 
tinents, and all the voices and musical instruments of all 
nations combine, and all the organs that ever sounded re- 
quiem of sorrow sound only a grand march of joy, and 
all the bells that tolled for burial ring for resurrection, and 
all the cannon that ever hurled death across the nations, 
sound to eternal victory : and over all the acclaim of earth 



352 ADVANCED ELOCUTION 

and minstrelsy of heaven there will be heard one voice 
sweeter and mightier than any human or angelic voice, 
a voice once full of tears, but then full of triumph, the 
voice of Christ, saying: "I am Alpha and Omega, the 
beginning and the end, the first and the last." Then, 
at the laying of the top-stone of the world's history, the 
same voices shall be heard as when at the laying of the 
world's corner-stone " the morning stars sang together." 

T. De Witt Talmage. 



LOSSES. 

UPON the white sea-sand 
There sat a pilgrim band, 
Telling the losses that their lives had known ; 
While evening waned away 
From breezy cliff and bay, 
And the strong tides went out with weary moan. 

One spake, with quivering lip, 

Of a fair freighted ship, 
With all his household to the deep gone down ; 

But one had wilder woe — 

For a fair face, long ago 
Lost in the darker depths of a great town. 

There were who mourned their youth 

With a most loving ruth, 
For its brave hopes and memories ever green ; 

And one upon the west 

Turned an eye that would not rest, 
For far-off hills whereon its joy had been. 

Some talked of vanished gold, 
Some of proud honors told, 



EDUCATION 353 

Some spoke of friends that were their trust no more; 

And one of a green grave 

Beside a foreign wave, 
That made him sit so lonely on the shore. 

But when their tales were done, 

There spake among them one, 
A stranger, seeming from all sorrow free ; 
" Sad losses have ye met, 

But mine is heavier yet; 
For a believing heart hath gone from me." 

" Alas !" these pilgrims said, 
" For the living and the dead — 
For fortune's cruelty, for love's sure cross, 
For the wrecks of land and sea ! 
But, however it came to thee, 
Thine, stranger, is life's last and heaviest loss." 

Frances Brown. 



EDUCATION. 

WERE a being of an understanding mind and a benevo- 
lent heart, to see, for the first time, a peaceful babe 
reposing in its cradle, or on its mother's breast, and were 
he to be told that that infant had been so constituted that 
every joint and organ in its whole frame might become the 
rendezvous of disease and racking pains ; that such was its 
internal structure that every nerve and fibre beneath its 
skin might be made to throb with a peculiar torture ; that 
in the endless catalogue of human disasters, maladies, ad- 
versities, or shames, there was scarcely one to which it 
would not be exposed ; that, in the whole criminal law of 
society, and in the more comprehensive and self-executing 
law of God there was not a crime which its heart might 
not at some time will, and its hand perpetrate ; that, in 
23 



354 ADVANCED ELOCUTION 

the ghastly host of tragic passions — Fear, Envy, Jealousy, 
Hate, Remorse, Despair — there was not one which might 
not lacerate its soul, and bring down upon it an appropri- 
ate catastrophe — were the benevolent spectator whom I 
have supposed, to see this environment of ills underlying, 
surrounding, overhanging their feeble and unconscious 
victim, and, as it were, watching to dart forth and seize it, 
might he not be excused for wishing the newly-created 
spirit well back again into nonenity ? 

But we cannot return to nonenity. We have no refuge 
in annihilation. Creative energy has been exerted. Our 
first attribute, the vehicle of all our other attributes, is 
immortality. We are of indestructible mold. Do what 
else we please with our nature and our faculties, we cannot 
annihilate them. Go where we please, self-desertion is 
impossible. Banished, we may be, from the enjoyment of 
God, but never from His dominion. There is no right or 
power of expatriation. There is no neighboring universe 
to fly to. If we forswear allegiance, it is but an empty 
form, for the laws by which we are bound do not only sur- 
round us, but are in us, and parts of us. Whatsoever 
other things may be possible, yet to break up or suspend 
this perpetuity of existence ; to elude this susceptibility 
to pains, at once indefinite in number and indescribable in 
severity ; to silence conscience, or to say that it shall not 
hold dominion over the soul ; to sink the past in oblivion ; 
or to alter any of the conditions on which Heaven has 
made our bliss and our woe depend — these things are im- 
possible. Personality has been given us, by w r hich we 
must refer all sensations, emotions, resolves, to our con- 
scious selves. Identity has been given us, by virtue of 
which, through whatever ages we exist, our whole being 
is made a unity. Now, whether curses or blessings, by 
these conditions of our nature we must stand ; for they 
are appointed to us by a law higher than Fate — by the 
law of God. Horace Mann. 



NATIONAL GREATNESS 355 



THE LAND 0' THE LEAL. 

I'M wearing awa', Jean, 
Like snaw when its thaw, Jean; 
I'm wearing awa' 
To the land o' the leal. 
There's nae sorrow there, Jean ; 
There's neither cauld nor care, Jean ; 
The day is &xe fair 
In the land o' the leal. 

Ye were aye leal and true, Jean ; 
Your task's ended noo, Jean, 
And I'll welcome you 
To the land o' the leal. 
Our bonnie bairn's there, Jean ; 
She was baith good and fair, Jean ; 
O, we grudged her right sair 
To the land o' the leal! 

Then dry that tearfu' e'e, Jean ; 
My soul Langs to be free, Jean, 
And angels wait on me 
In the land o' the leal. 
Now fare ye weel, my am Jean ; 
This warld's care is vain, Jean ; 
We'll meet and eye be fain 
In the land o' the leal. 

Lady Nairn. 



NATIONAL GREATNESS. 

I BELIEVE there is no permanent greatness to a nation 
except it be based upon morality. I do not care for 
military greatness or military renown. I care for the condi- 
tion of the people among whom I live. There is no man in 



356 ADVANCED ELOCUTION 

England who is less likely to speak irreverently of the crown 
and monarchy of England than I am ; but crowns, coro- 
nets, miters, military display, the pomp of war, wide colo- 
nies, and a huge empire are, in my view, all trifles light as 
air, and not worth considering, unless with them you can 
have a fair share of comfort, contentment, and happiness 
among the great body of the people. Palaces, baronial 
castles, great halls, stately mansions, do not make a nation. 
The nation, in every country, dwells in the cottage ; and 
unless the light of your constitution can shine there, unless 
the beauty of your legislation and excellence of your state- 
manship are impressed there in the feelings and condition 
of the people, rely upon it you have yet to learn the duties 
of government. John Bright. 



THE LAWYER'S LULLABY. 

(From the Outlook.) 

BE still, my child ! remain in statu quo, 
While I propel thy cradle to and fro, 
Let no involved res inter alios 
Prevail while we're consulting inter nos. 

Was that a little pain in medias res ? 

Too bad ! too bad ! we'll have no more of these. 

Ill send a capias for some wise expert 

Who knows how to eject the pain and stay the hurt. 

No trespasser shall come to trouble thee ; 
For thou dost own this house in simple fee — 
And thy administrators, heirs, assigns, 
To have, to hold, convey, at thy designs. 

Correct thy pleadings, my own baby boy; 

Let there be an abatement of thy joy; 

Quash every tendency to keep awake, 

And verdict, costs, and judgment thou shalt take. 

F. H. COGGSWELL. 



prospice 357 



PROSPICE. 



FEAR death ? — to feel the fog in my throat, 
The mist in' my face, 
When the snows begin, and the blasts denote 

I am nearing the place, 
The power of the night, the press of the storm, 

The post of the foe ; 
Where he stands, the Arch Fear in a visible form, 

Yet the strong man must go : 
For the journey is done and the summit attained, 

And the barriers fall, 
Though a battle's to fight ere the guerdon be gained, 

The reward of it all. 
I was ever a fighter, so — one fight more, 

The best and the last ! 
I would hate that death bandaged my eyes, and forbore^ 

And bade me creep past. 
No ! let me taste the whole of it, fare like my peers 

The heroes of old, 
Bear the brunt, in a minute pay glad life's arrears 

Of pain, darkness, and cold. 
For sudden the worst turns the best to the brave, 

The black minute's at end, 
And the elements' rage, the fiend-voices that rave, 

Shall dwindle, shall blend, 
Shall change, shall become first a peace out of pain, 

Then a light, then thy breast, 
thou soul of my soul ! I shall clasp thee again, 

And with God be the rest ! 

Robert Browning. 



358 ADVANCED ELOCUTION 

THE GRAVE. 

Permission of G. P. Putnam's Sons, New York. 

OH, the grave ! the grave ! It buries every error ; covers 
every defect ; extinguishes every resentment. From 
its peaceful bosom spring none but fond regrets and tender 
recollections. Who can look down upon the grave even 
of an enemy, and not feel a compunctious throb, that ever 
he should have warred with the poor handful of earth 
that lies moldering before him ? But the grave of those 
he loved, what a place for meditation ! Then it is we call 
up, in long review, the whole history of virtue and gen- 
tleness, and the thousand endearments lavished upon us, 
almost unheeded, in the daily intercourse of intimacy ; 
then it is we dwell upon the tenderness, the solemn and 
awful tenderness of the parting scene ; the bed of death, 
with all the stifled grief ; its noiseless attendants, its mute, 
watchful assiduities; the last testimonies of expiring 
love; the feeble, fluttering, thrilling — oh, how thrilling! — 
pressure of the hand ; the last, fond look of the glazed 
eye, turning upon us, even from the threshold of exist- 
ence; the faint, faltering accents struggling in death to 
give one more assurance of affection ! Aye, go to the 
grave of buried love and meditate! There settle the 
account with thy conscience, for every past endearment, 
unregarded, of that departed being, who never, never, 
never can return, to be soothed by contrition ! 

If thou art a child, and hast ever added a sorrow to the 
soul, or a furrow to the silvered brow of an affectionate 
parent ; if thou art a husband, and hast ever caused the 
fond bosom that ventured its whole happiness in thy 
arms, to doubt one moment of thy kindness or thy 
truth ; if thou art a friend, and hast ever wronged in 
thought, or word, or deed, the spirit that generously con- 
fided in thee; if thou art a lover and hast ever given an 
unmerited pang to the true heart that now lies cold and 



MOLLY CAREW 359 

still beneath thy feet; then be sure that every unkind 
look, every ungracious word, every ungenteel action, will 
come thronging back upon thy memory, and knocking 
dolefully at thy soul ; then be sure thou wilt be down, 
sorrowing and repentant on the grave, and utter the un- 
heard groan, and pour the unavailing tear, more deep, 
more bitter, because unheard and unavailing. 

Washington Irving. 



MOLLY CAREW. 

OCH hone ! and what will I do? 
Sure my love is all crost 
Like a bud in the frost ; 
And there's no use at all in my going to bed, 
For 'tis dhrames and not sleep comes into my head, 
And 'tis all about you. 
My sweet Molly Carew — 
And indeed 'tis a sin and a shame ; 
You're complater than Nature 
In every feature, 
The snow can't compare 
With your forehead so fair, 
And I rather would see just one blink of your eye 
Than the purtiest star that shines out of the sky, 
And by this and by that, 
For the matter o' that, 
You're more distant by far than that same ! 

Och hone ! weirasthru ! 
I'm alone in this world without you. 

Och hone ! but why should I spake 

Of your forehead and eyes, 

When your nose it defies 
Paddy Blake, the schoolmaster, to put it in rhyme ? 
Tho' there's one Burke, he says, that would call it smiblime, 



360 ADVANCED ELOCUTION 

And then for your cheek ! 

Troth, 'twould take him a week 
Its beauties to tell, as he'd rather. 

Then your lips ! oh, machree ! 

In their beautiful glow, 

They a patthern might be 

For the cherries to grow. 
'Twas an apple that tempted our mother, w T e know, 
For apples were scarce, I suppose, long ago ; 

But at this time o' day, 

Ton my conscience I'll say 
Such cherries might tempt a man's father ! 

Och hone ! weirasthru ! 
I'm alone in this world without you. 

Och hone ! by the man in the moon, 

You taze me all ways 

That a woman can plaze, 
For you dance twice as high with that thief Pat Magee, 
As when you take share of a jig, dear, with me, 

Tho' the piper I bate, 

For fear the owld chate 
Wouldn't play you your favourite tune ; 

And when you're at mass 

My devotion you crass, 

For 'tis thinking of you 

I am, Molly Carew, 
While you wear, on purpose, a bonnet so deep, 
That I can't at your sweet purty face get a peep : — 

Oh, lave off that bonnet, 

Or else I'll lave on it 
The loss of my wandherin' sowl ! 

Och hone ! weirasthru ! 

Och hone ! like an owl, 
Day is night, dear, to me, without you ! 



THE UNION 361 

Och hone ! don't provoke me to do it; 
For there's girls by the score 
That loves me— and more, 
And you'd look very quare if some morning you'd meet 
My weddin' all marchin' in pride down the sthreet ; 
Troth, you'd open your eyes, 
And you'd die with surprise, 
To think Wasn't you was come to it ! 
And faith Katty Naile, 
And her cow, I go bail, 
Would jump if I'd say, 
" Katty Naile, name the day." 
And tho' you're fair and fresh as a morning in May, 
While she's short and dark like a cowld winther's day, 
Yet if you don't repent 
Before Easther, when Lent 
Is over I'll marry for spite ! 
Och hone ! weirasthru ! 
And when I die for you, 
My ghost will haunt you every night. 

Samuel Lover. 



THE UNION. 

By permission of and arrangement with Houghton, Mifflin & Co., Boston, Mass. 

HAS our love all died out ? Have its altars grown cold ? 
Has the curse come at last which the fathers fore- 
told? 
Then nature must teach us the strength of the chain, 
That her petulant children would sever in vain. 

They may fight till the buzzards are gorged with their spoil, 
Till the harvest grows black as it rots in the soil, 
Till the wolves and the catamounts troop from their caves, 
And the shark tracks the pirate, the lord of the waves. 



362 ADVANCED ELOCUTION 

In vain is the strife ! When its fury is past, 
Their fortunes must flow in one channel at last; 
As the torrents that rush from the mountains of snow, 
Roll mingled in peace through the valleys below. 

Our Union is river, lake, ocean, and sky, 
Man breaks not the medal when God cuts the die ! 
Though darkened with sulphur, though cloven with steel, 
The blue arch will brighten, the waters will heal! 

Oliver Wendell Holmes. 



UNDER THE ROD. 

I SAW the young bride, in her beauty and pride, 
Bedeck'd in her snowy array ; 
And the bright flush of joy mantled high on her cheek, 

And the future looked blooming and gay : 
And with woman's devotion she laid her fond heart 

At the shrine of idolatrous love, 
And she anchor'd her hopes to this perishing earth, 

By the chain which her tenderness wove, 
But I saw when those heart-strings were bleeding and torn, 

And the chain had been severed in two, 
She had changed her white robes for the sables of grief, 

And her bloom for the paleness of woe. 
But the Healer was there, pouring balm on her heart, 

And wiping the tears from her eyes, 
And He strengthened the chain He had broken in twain 

And fastened it firm to the skies ! 
There had whispered a voice — 'twas the voice of her God, 

" I love thee — I love thee — pass under the rod !" 

I saw the young mother in tenderness bend 

O'er the couch of her slumbering boy, 
And she kissed the soft lips as they murmur'd her name, 

While the dreamer lay smiling in joy. 



UNDER THE ROD 363 

Oh, sweet as a rose-bud encircled with clew. 

When its fragrance is flung on the air, 
So fresh and so bright to that mother he seemed, 

As he lay in his innocence there. 
But I saw when she gazed on the same lovely form, 

Pale as marble, and silent, and cold, 
But paler and colder her beautiful boy, 

And the tale of her sorrow was told ! 
But the Healer was there who had stricken her heart 

And taken her treasure away, 
To allure her to heaven Re has placed it on high, 

And the mourner will sweetly obey. 
There had whispered a voice — 'twas the voice of her 
God, 

" I love thee — I love thee — pass under the rod !" 

I saw the fond brother, with glances of love, 

Gazing down on a gentle young girl, 
And she hung on his arm, and breathed soft in his ear 

As he played with each graceful curl. 
Oh, he loved the sweet tones of her silvery voite, 

Let her use it in sadness or glee ; 
And he'd clasp his brave arms round her delicate form, 

As she sat on her brother's knee. 
But I saw when he gazed on her death-stricken face, 

And she breathed not a word in his ear ; 
And he clasped his brave arms round an icy cold form,. 

And he moisten'd her cheek with a tear. 
But the Healer was there, and He said to him thus — 

" Grieve not for thy sister's short life," 
And He gave to his arms still another fair girl, 

And he made her his own cherished wife ! 
There had whispered a voice — 'twas the voice of his 
God, 

" I love thee — I love thee — pass under the rod !" 



364 ADVANCED ELOCUTION 

I saw where a father and mother had leaned 

On the arms of a dear gifted son, 
And the star in the future grew bright to their gaze, 

As they saw the proud place he had won : 
And the fast-coming evening of life promised fair, 

And its pathway grew smooth to their feet, 
And the starlight of love glimmered bright at the end, 

And the whispers of fancy were sweet. 
But I saw when they stood, bending low o'er the grave, 

Where their heart's dearest hope had been laid, 
And the star had gone down in the darkness of night, 

And the joy from their bosoms had fled. 
But the Healer was there, and His arms were around, 

And He led them with tenderest care ; 
And He showed them a star in a bright upper world, 

'Twas their star shining brilliantly there ! 
They had each heard a voice — 'twas the voice of their 
God, 

-" I love thee — I love thee — pass under the rod !" 

Mary B. Dana. 



METAMORA TO HIS WARRIORS. 

SACHEMS, chiefs, and warriors ! Metamora has told his 
brothers of the many aggressions and insults of the 
pale-faces, and the outrage upon his family. Metamora can- 
not lie. He has told his brothers that the heart of the pale- 
face is like his skin, white and without blood — that good 
sap of the tree that makes its branches spread afar, and 
give shelter and fruit to all. Metamora cannot lie. He 
has told his brothers that the Great Spirit, who provides 
for all His creatures, made a land for the white man as 
well as for His red children. That land made by the 
Good Spirit must be good ; and if these pale-faces were 
good in their hearts, they would live in their own land 



METAMORA TO HIS WARRIORS 365 

that their Father gave them. If they are not good, the 
red man should treat them as he treats the panther, that 
comes to his wigwam to steal the deer that he has hunted, 
or the bird that he has shot with his arrow. Metamora 
cannot lie. 

When a red man makes a visit of peace to a brother's 
wigwam, he feeds at his fire, drinks of his bowl, smoke3 
of the prophet-plant, and departs in peace. We received 
the white man as we receive a brother ; he fed at our fire, 
smoked of the friendly pipe, and danced with our squaws ; 
but he never departs. He still stays, eats of our meat, 
warms by our fires, craves more and more from us, 
measures the very ground that we loaned him to sport on, 
and claims it as his own. Was he not afraid to track 
even the deer of the hills, or the bear of the forest, for a 
meal ? Did not the red man hunt the buffalo, the buck, 
the otter, and slay them to feed and keep him warm ? 
And when the Great Spirit, angry at their stay, talked 
louder than the roar of their mighty rifles, and shook their 
big canoes in His wrath, did we not dive into the mad 
waters around them, and save them from going down to 
the water-spirit in their splintered barks ? Did not the 
red men dry them by their fires, give them the soft fur of 
the otter to lie on, and shelter and protect them, till our 
prophets soothed the Great Spirit's anger, and He talked 
no more in thunder ? And now they stay long, and want 
more — more — more. Like the wolf-dog, feed him, and 
he'll come again ; give him our beds, and he bites us ; 
fatten him, and he'll drive us from our wigwam. 

They show us books, which they say will tell us of the 
Great Spirit. We know the Great Spirit without books. He 
whispers to us in the breeze ; He sings to us in the wind- 
cloud and the waterfall ; He talks to us in thunder, and 
our hearts answer; we see His frown in the storm-cloud, 
His smile in the warm face of the eternal sun ; the great 



366 ADVANCED ELOCUTION 

blue tent above is His wigwam, and the stars are His 
watch-fires ! The red men need no books to tell them 
this, for this is all truth. White men make books, and 
white men lie ! They take from us, while they tell us that 
they come to give ; but the red man wants no gifts, save 
the gifts of Him who owns all, and who can give without 
taking from another. When the red man makes war upon 
his brother, he comes to him as his foe, and shows the 
tomahawk, the bow and arrow, and the plume of the 
eagle ; but these pale-faces come with peace upon their 
lips, with their hands empty, but wear the little rifle and 
the knife, like a snake hid within their bosoms, to plunge 
into the heart of the red man. In this do they not lie? 
They are as false as the snow-bank in the spring ; if we 
rest upon it it sinks with us. 

The white man talks of peace; but Metamora tells his 
brothers that their big canoes are still landing from over the 
salt lake, filled with rifles, thunder-guns, and their long 
knives of war. Metamora cannot lie. When we ask the 
white man what all these are for, he tells us they are for 
hunting, and destroying the wolf, the panther, and the 
alligator; but Metamora again tells his brothers 'tis a lie! 
They are to drive the red man from his lands, shoot him 
down like the deer herd, and fire his wigwam with their 
thunder-guns. Then let the red man rouse and scream 
like the eagle when the snake seeks his nest — join with 
his tribe, and dart upon his foe — protect the lands of his 
fathers, the gift of the Great Spirit; let the keen axe of 
vengeance defend their wives and the doves of their wig- 
wams from the fire-hail of the white skin. Bury not the 
hatchet, nor sling the rifle, while the track of the high 
moccasin insults the graves of our fathers ! 

White man, beware ! The wrath of the wronged Indian 
shall come upon you like the roaring cataract that dashes 
the uprooted oak down into the mighty chasm ; the war- 



THE BOAT-RACE 367 

whoop shall rouse you from your dreams at night, and the 
red tomahawk glare in the blaze of your burning dwell- 
ings ! Tremble ! from the east to the west, in the north 
and in the south, shall be heard the loud cry of ven- 
geance, tiH the lands you have stolen groan under your 
feet no more. 

Snakes of the pale-face, ye may slay the chief of the 
WampanoagSj but the soul of Metamora shall still live, and 
talk in the red sons of Manito. His blood shall be their 
war-paint of vengeance. They shall kill man for man 
and race for race. From the king of hills to the mighty 
vales and caverns, they shall betray you as you have the 
wronged red man, till your hot fire-water blood shall burn 
in millions of fires and light their dance of freedom. 



THE BOAT-RACE. 

From M Queec Hynde." 

FOURTEEN fair barges in a row 
Started at once with heaving prow ; 
With colors, flags, and plumes bedight; 
It was forsooth a comely sight ! 
King Eric's seven good rowers swarth, 
Chosen from all the sinewy north, 
Were men of such gigantic parts, 
And science in the naval arts, 
And with such force their flashes hurled, 
They feared no rowers of this world. 

King Eric, crowned with many a gem, 
Took station on his barge's stem ; 
Secure of victory, and proud 
To shoot before the toiling crowd, 
And spring the first upon the shore; 
Full oft he'd clone the same before. 



368 ADVANCED ELOCUTION 

Seven boats of either nation bore, 
In proud array from Keila's shore. 
With equal confidence endow'd ; v 
To each seven rowers were allowed ; 
But by the way they spied, with glee, 
That one Scots barge had only three, 
And she was bobbing far behind, 
As toiling with the tide and wind ; 
The rowers laugh'd till all the firth 
Eesounded with the boist'rous mirth. 

Around an isle the race was set, 
A nameless isle, and nameless yet; 
And when they turn'd its southern mull, 
The wind and tide were fair and full ; 
Then 'twas a cheering sight to view 
How swift they skimmed the ocean blue ; 
How lightly o'er the wave they scoop'd ; 
Then clown into the valley swoop'd ; 
Like flock of sea-birds gliding home, 
They scarcely touch'd the floating foam, 
But like dim shadows through the rain, 
They swept across the heaving main ; 
While in the spray, that flurr'd and gleam'd 
A thousand little rainbows beam'd. 

King Eric's bark, like pilot swan, 
Aright before the centre ran, 
Stemming the current and the wind 
For all his cygnet fleet behind, 
And proudly look'd he back the while, 
With lofty and imperial smile. 
O mariners ! why all that strife ? 
Why plash and plunge 'twixth death and life? 
When 'tis as plain as plain can be, 
That barge is mistress of the sea. 



THE BOAT-RACE 3C9 

Pray not so fast, Sir Minstrel rath ! 
Look back upon that foamy path, 
As Eric does with doubtful eye, 
On little boat that gallantly 
Escapes from out the flashing coil, 
And presses on with eager toil, 
Full briskly stemming tide and wind, 
And following Eric hard behind ; 
And, worst of all for kingly lot, 
Three rowers only man the boat ! 

" Ply, rowers, ply ! We're still ahead. 
Lean from your oars — shall it be said 
That the seven champions of the sea 
Were beat outright by random three ! 
Ply. rowers, ply ! She gains so fast, 
I hear their flouts upon us cast. 
'Tis the small boat, as I'm on earth ! 
That gave so much untimely mirth. 



" Curse on her speed ! Strain, rowers, strain !" 
Impatient Eric cried again ; 
" See how she cleaves the billow proud, 
Like eagle through a wreathy cloud : 
Strain, vassals, strain ! If we're outrun, 
By moving thing below the sun, 
I swear by Odin's mighty hand, 
I'll sink the boat and swim to land !" 

Hard toil'd King Eric's giant crew; 
Their faces grim to purple grew ; 
At last their cheering loud ye-ho 
Was changed into a grunt of woe. 
For she, the little bark despised, 
And foully at the first misprised, 

24 



370 ADVANCED ELOCUTION 

Came breasting up with skimming motion, 
Scarce gurgling in the liquid ocean ; 
And by, and by, and by she bore, 
With whoop of joy and dash of oar! 
The foremost rower plied his strength 
On two oars of tremendous length, 
Which boards on further end reveaPd, 
Broader than Eric's gilded shield ; 
The monarch trembled and look'd grave 
To see the strokes that rower gave. 

Just then he heaved his oars behind, 
Like falcon's wings lean'd to the wind 
As pass'd his little pinnace plain 
The monarch's meteor of the main ; 
And, as he bent his might to row, 
He struck King Eric's gilded prow 
With such a bounce and such a heave, 
That back she toppled o'er the wave, 
And nigh had thrown, as nigh could be, 
Her king and champions in the sea, 
" Ho ! oar-room, friends ! your distance keep," 
Cried that rude Hector of the deep ; 
" Ye-ho ! ye-ho ! 
How well we go ! 
Ours is the bark that fears no foe !" 

James Hogg. 



FROM MUCH ADO ABOUT NOTHING 371 



EXTRACTS FROM SHAKESPEARE. 

IX THE FORM OF APPEAL, ADDRESS, SOLILOQUY, AND 
COLLOQUY. 



From Much Ado About Nothing. 

Benedick's Soliloquy after casually overhearing a purposed parley of his three 
friends regarding the Lady Beatrice. 

THIS can be no trick; the conference was sadly borne. 
They have the truth of this from Hero. They seem 
to pity the lady: it seems her affections have their full 
bent. Love me! Why, it must be requited. I hear 
how I am censured : they say I will bear myself proudly, 
if I perceive the love come from her ; they say, too, that 
she will rather die than give any sign of affection. I did 
never think to marry: I must not seem proud; happy 
are they that hear their detractions and can put them to 
mending. They say the lady is fair ; 'tis a truth, I can 
bear them witness : and virtuous ; 'tis so, I cannot reprove 
it : and wise, but for loving me ; by my troth, it is no 
addition to her wit, nor no great argument of her folly, 
for I will be horribly in love with her. I may chance 
have some odd quirks and remnants of wit broken on 
me, because I have railed so long against marriage ; but 
doth not the appetite alter? A man loves the meat 
in his youth, that he cannot endure in his age. Shall 
quips and sentences and these paper bullets of the brain 
awe a man from the career of his humor? No. When 
I said I would die a bachelor, I did not think I should 
live till I were married. If I do not take pity of her, I 
am a villain ; if I do not love her, I am a Jew. I will go 
get her picture. 



372 ADVANCED ELOCUTION 



From King John. 

Constance's denunciation of King Philip of France and Lymoges of Austria. 

YOU have beguil'd me with a counterfeit 
Resembling majesty, which, being touch 'd and tried, 
Proves valueless ; you are forsworn, forsworn ; 
You came in arms to spill mine enemies' blood, 
But now in arms you strengthen it with yours. 
The grappling vigor and rough frown of war 
Is cold in amity and painted peace, 
And our oppression hath made up this league. 
Arm, arm, you heavens, against these perjur'd kings! 
A widow cries : be husband to me, heavens ! 
Let not the hours of this ungodly day 
Wear out the day in peace ; but, ere sunset, 
Set armed discord 'twixt these perjur'd kings! 
. . . War ! War ! No peace ! Peace is to me a war. 
O Lymoges ! Austria ! thou dost shame 
That bloody spoil; thou slave, thou wretch, thou coward ! 
Thou little valiant, great in villainy ! 
Thou ever strong upon the stronger side ! 
Thou Fortune's champion that dost never fight 
But when her humorous ladyship is by 
To teach thee safety ! thou art perjur'd too, 
And sooth'st up greatness. What a fool art thou, 
A ramping fool, to brag and stamp and swear 
Upon my party. Thou cold-blooded slave, 
Hast thou not spoke like thunder on my side, 
Been sworn my soldier, bidding me depend 
Upon thy stars, thy fortune, and thy strength, 
And dost thou now fall over to my foes ? 
Thou wear a lion's hide ! doff it for shame, 
And hang a calf's skin on thy recreant limbs. 



FROM KINK HENRY VIII. 



From King Henry VIII. 

Queen Katharine's appeal to King Henry, on the assembling of the ecclesiastical 
court, in regard to the question of the divorce. 

QIR, I desire you do me right and justice, 

And to bestow your pity on me ; for 

1 am a most poor woman, and a stranger, 
Born out of your dominions ; having here 
No judge indifferent, nor no more assurance 
Of equal friendship and proceeding. Alas, sir, 
In what have I offended you ? What cause 
Hath my behavior given to your displeasure, 
That thus you should proceed to put me off, 

And take your good grace from me? Heaven witness 

I have been to }^ou a true and humble wife, 

At all times to your will conformable : 

Ever in fear to kindle your dislike, 

Yea, subject to your countenance; glad or sorry, 

As I saw it inclined. When was the hour 

I ever contradicted your desire. 

Or made it not mine too? Or which of your friends 

Have I not strove to love, although I knew 

He were mine enemy ? what friend of mine, 

That had to him deriv'd your anger, did I 

Continue in my liking? nay, gave notice 

He was from thence discharged. Sir. call to mind 

That I have been your wife, in this obedience, 

Upward of twenty years, if in the course 

And process of this time, you can report. 

And prove it too, against mine honor aught, 

My bond to wedlock, or my love and duty, 

Against your sacred person, in Heaven's name, 

Turn me away ; and let the foul'st contempt 

Shut door upon me, and so give me up 

To the sharp'st kind of justice. Please you, sir, 



374 ADVANCED ELOCUTION 

The King, your father, was reputed for 

A prince most prudent, of an excellent 

And unmatched wit and judgment: Ferdinand, 

My father, King of Spain, was reckon'd one 

The wisest prince, that there had reign'd by many 

A year before : it is not to be question'd 

That they had gather'd a wise counsel to them 

Of every realm, that did debate this business, 

Who deem'd our marriage lawful. Wherefore I humbly 

Beseech you, sir, to spare me, till I may 

Be by my friends in Spain advis'd, whose counsel 

I will implore ; if not, i' th' name of Heaven, 

Your pleasure be fulfilled ! 



From Hamlet. 

Remorse of King Claudius. 

OMY offense is rank, it smells to heaven ; 
> It hath the primal eldest curse upon't, 
A brother's murther ! Pray can I not, 
Though inclination be as sharp as will ; 
My stronger guilt defeats my strong intent, 
And, like a man to double business bound, 
I stand in pause where I shall first begin, 
And both neglect. What if this cursed hand 
Were thicker than itself with brother's blood, 
Is there not rain enough in the sweet heavens 
To wash it white as snow ? Whereto serves mercy 
But to confront the visage of offense ? 
And what's in prayer but this twofold force, — 
To be forestalled ere we come to fall, 
Or pardon'd being down? Then I'll look up; 
My fault is past. But, 0, what form of prayer 
Can serve my turn ? ' Forgive me my foul murther?' 
That cannot be ; since I am still possess'd 
Of those effects for which I did the murther, 



FROM THE MERCHANT OF VENICE 3/{ 

My crown, mine own ambition, and my queen. 

May one be pardon'd and retain the offense? 

In the corrupted currents of this world 

Offense's gilded hand may shove by justice, 

And oft t'is seen the wicked prize itself 

Buys out the law ; but 'tis not so above : 

There is no shuffling, there the action lies 

In his true nature, and we ourselves compell'd 

Even to the teeth and forehead of our faults 

To give in evidence. What then? what rests? 

Try what repentance can : what can it not ? 

Yet what can it when one can not repent ? 

wretched state ! bosom black as death ! 

limed soul, that struggling to be free 

Art more engag'd ! Help, Angels ! Make assay ! 

Bow, stubborn knees ; and, heart with strings of steel, 

Be soft as sinews of the new-born babe ! 

All may be well. 

><: ^ ><: ><: ^ ^ 

My words fly up, my thoughts remain below ; 
Words without thoughts never to heaven go ! 



From The Merchant of Venice. 

Portia's Speech to Bassanio, on his choice of the Casket. 

YOU see me. Lord Bassanio, where I stand, 
Such as I am : though for myself alone 
I would not be ambitious in my wish, 
To wish myself much better ; yet, for you 
I would be trebled twenty times myself, 
A thousand times more fair, ten thousand times more rich, 
That only to stand high in your account. 
I might in virtues, beauties, livings, friends, 
Exceed account : but the full sum of me 
Is sum of nothing: which, to term in gross, 



376 ADVANCED ELOCUTION 

Is an unlesson'd girl, unschool'd unpractical; 
Happy in this, she is not so old 
But she may learn; happier than this, 
She is not bred so dull but she can learn ; 
Happiest of all is that her gentle spirit 
Commits itself to yours to be directed, 
As from her lord, her governor, her king. 
Myself and what is mine to you and yours 
Is now converted : but now I was the lord 
Of this fair mansion, master of my servants, 
Queen o'er myself ; and even now, but now, 
This house, these servants, and this same myself, 
Are yours, my lord. I give them with this ring ; 
Which when you part from, lose, or give away, 
Let it presage the ruin of your love, 
And be my vantage to exclaim on you. 



From As You Like It. 

Adam's warning and persuasion of his Young Master Orlando. 

WHAT, my young master? O my gentle master! 
my sweet master ! you memory 
Of old Sir Rowland ! Why, what make you here? 
Why are you virtuous ? Why do people love you ? 
And wherefore are you gentle, strong, and valiant? 
Why would you be so fond to overcome 
The bonny priser of the humorous duke? 
Your praise is come too swiftly home before you. 
Know you not, master, to some kind of men 
Their graces serve them but as enemies ? 
No more do yours : your virtues, gentle master, 
Are sanctified and holy traitors to you. 
O what a world is this, when what is comely 
Envenoms him that bears it ! 
. . . unhappy youth ! 



FROM AS YOU LIKE IT 377 

Come not within these doors ; within this roof 

The enemy of all your graces lives : 

Your brother — no, no brother; yet the son — 

Yet not the son, I will not call him son 

Of him I was about to call his father — 

Hath heard your praises, and this night he means 

To burn the lodging where you use to lie 

And you within it ; if he fail of that, 

He will have other means to cut you off. 

I overheard him in his practices. 

This is no place ; this house is but a butchery ; 

Abhor it, fear it, do not enter it, 

. . . I have five hundred crowns, 

The thrifty hire I sav'd under your father, 

Which I did store to be my foster-nurse 

When service should in my old limbs lie lame 

And unregarded age in corners thrown ; 

Take that, and He that doth the ravens feed, 

Yea. providently caters for the sparrow, 

Be comfort to my age ! Here is the gold ; 

Though I look old, yet I am strong and lusty; 

For in my youth I never did apply 

Hot and rebellious liquors in my blood, 

Nor did not with unbashful forehead woo 

The means of weakness and debility ; 

Therefore my age is as a lusty winter, 

Frosty, but kindly. Let me go with you ; 

I'll do the service of a younger man 

In all your business and necessities. 

^ ^ $: >Jc >fc 

Master, go on, and I will follow thee, 
To the last gasp, with truth and loyalty. 



378 ADVANCED ELOCUTION 



From King Henry VIII. 

Buckingham's address to the populace on his way to execution. 

ALL good people, 
You that have thus far come to pity me, 
Hear what I say, and then go home and lose me. 
I have this day received a traitor's judgment, 
And by that name must die ; y et, Heaven bear witness, 
And if I have a conscience, let it sink me, 
Even as the axe falls, if I be not faithful. 
The law I bear no malice for my death, 
'T has done upon the premises but justice ; 
But those that sought it I could wish more Christians : 
Be what they will, I heartily forgive 'em. 
Yet let 'em look they glory not in mischief, 
Nor build their evils on the graves of great men ; 
For then my guiltless blood must cry against 'em. 
For further life in this world I ne'er hope, 
Nor will I sue, although the king have mercies 
More than I dare make faults. . . . 

Commend me to his grace ; 
And, if he speak of Buckingham, pray tell him, 
You met him half in Heaven. My vows and prayers 
Yet are the king's ; and, till my soul forsake, 
Shall cry for blessings on him : may he live 
Longer than I have time to tell his years ! 
Ever belov'd and loving may his rule be ! 
And when old Time shall lead him to his end, 
Goodness and he fill up one monument. 

jfc 5fC $: 5fC %. sfc 

You few that lov'cl me, 
And dare be bold to weep for Buckingham, 
His noble friends and fellows, whom to leave 
Is only bitter to him only dying, 



FROM AS YOU LIKE IT 



Go with me, like good angels, to my end ; 
And, as the long divorce of steel falls on me, 
Make of your prayers one sweet sacrifice, 
And lift my soul to Heaven. — Lead on. 



From As You Like It. 

The colloquy of Orlando and Rosalind, on unexpectedly meeting in the 
Forest of Arden. Orlando does not recognize Rosalind, who is dressed in the 
garb of a shepherd lad. 

ROSALIND (aside). I will speak to him like a saucy 
lackey, and under that habit play the knave with 
him. Do you hear, forester ? 

Orlando. Very well; what would you? 

Rosalind. I pray you, what is 't o'clock? 

Orlando. You should ask me what time o' day ; there's 
no clock in the forest. 

Rosalind. Then there is no true lover in the forest; 
else sighing every minute and groaning every hour would 
detect the lazy foot of Time as well as a clock. 

Orlando. And why not the swift foot of Time ? had not 
that been as proper ? 

Rosalind. By no means, sir. Time travels in divers 
paces with divers persons. I'll tell you who Time ambles 
withal, w r ho Time trots withal, who Time gallops withal, 
and who he stands still withal. 

Orlando. I prithee who doth he trot withal ? 

Rosalind. Marry, he trots hard with a young maid 
between the contract of her marriage and the day it is 
solemnized ; if the interim be a se'nnight, Time's pace is so 
hard that it seems the length of seven year. 

Orlando. Who ambles Time withal? 

Rosalind. With a priest that lacks Latin, and a rich 
man that hath not the gout; for the one sleeps easily 
because he cannot study, and the other lives merrily be- 
cause he feels no pain. 



380 ADVANCED ELOCUTION 

Orlando. Who doth he gallop withal ? 

Rosalind. With a thief to the gallows ; for though he 
go as softly as foot can fall, he thinks himself too soon 
there. 

Orlando. Who stays it withal ? 

Rosalind. With lawyers in the vacation ; for they sleep 
between term and term, and then they perceive not how 
Time moves. 

Orlando. Where dwell you, pretty youth ? 

Rosalind. With this shepherdess, my sister ; here in the 
skirts of the forest, like fringe upon a petticoat. 

Orlando. Are you a native of this place ? 

Rosalind. As the cony that you see dwell w T here she is 
kindled. 

Orlando. Your accent is something finer than you 
could purchase in so removed a dwelling. 

Rosalind. I have been tolcl so of many ; but indeed an 
old religious uncle of mine taught me to speak, who was 
in his youth an inland man ; one that knew courtship too 
well, for there he fell in love. I have heard him read 
many lectures against it, and I thank Heaven I am not a 
woman, to be touched with so many giddy offenses as he 
hath generally taxed their whole sex withal. 

Orlando. Can you remember any of the principal evils 
that he laid to the charge of women ? 

Rosalind. There were none principal ; they were all 
like one another as half-pence are, every one fault seem- 
ing monstrous till his fellow-fault came to match it. 

Orlando. I prithee recount some of them. 

Rosalind. No, I will not cast away my physic but on 
those that are sick. There is a man haunts the forest, that 
abuses our young plants with carving Rosalind on their 
barks ; hangs odes upon hawthorns and elegies on 
brambles, all, forsooth, deifying the name of Rosalind ; if 
I could meet that fancy-monger, I would give him some 



FROM AS YOU LIKE IT 381 

good counsel, for he seems to have the quotidian of love 
upon him. 

Orlando. I am he that is so love-shaked ; I pray you, 
tell me your remedy. 

Rosalind. There is none of my uncle's marks upon 
you ; he taught me how to know a man in love ; in which 
cage of rushes I am sure you are not prisoner. 

Orlando. What were his marks ? 

Rosalind. A lean cheek which you have not ; a blue 
eye and sunken, which you have not ; a beard neglected, 
which you have not ; then your hose should be ungar- 
tered, your bonnet unhanded, your sleeve unbuttoned, your 
shoe untied ; and everything about you demonstrating a 
careless desolation. But you are no such man ; you are 
rather point-device in your accoutrements, as loving your- 
self than seeming the lover of any other. 

Orlando. Fair youth, I would I could make thee be- 
lieve I love. 

Rosalind. Me believe it! You may as soon make her 
that you love believe it; which I warrant she is apter to 
do, than to confess she does. But, in good sooth, are you 
he that hangs the verses on the trees, wherein Rosalind is 
so admired? 

Orlando. I declare to thee, youth, by the white hand 
of Rosalind, I am that he, that unfortunate he. 

Rosalind. But are you so much in love as your rhymes 
speak ? 

Orlando. Xeither rhyme nor reason can express how 
much. 

Rosalind. Love is merely a madness, and, I tell you, 
deserves as well a dark house and a whip as madmen do ; 
yet I profess curing it by counsel. 

Orlando. Did you ever cure any so ? 

Rosalind. Yes, one, and in this manner. He was to 
imagine me his love ; and I set him every day to woo me ; 



382 ADVANCED ELOCUTION 

at which time would I, being but a moonish youth, grieve, 
be effeminate, changeable, longing and liking, proud, 
fantastical, apish, shallow, inconstant, full of tears, full of 
smiles, for every passion something and for no passion 
truly anything ; would now like him, now loathe him ; 
then entertain him, then forswear him ; now weep for him, 
then spit at him ; that I drave my suitor from his mad 
humor of love to a living humor of madness ; wdiich was, 
to forswear the full stream of the world, and live in a nook 
merely monastic. And thus I cured him ; and this way 
will I take upon me to wash your liver as clean as a sound 
sheep's heart, that there shall not be one spot of love in't. 

Orlando. I would not be cured, youth. 

Kosalind. I would cure you, if you would but call me 
Eosalind, and come every day to my cote and woo me. 

Orlando. Now, by the faith of my love, I will ; tell me 
where it is. 

Rosalind. Go with me to it ; and I'll show it you ; and 
by the way you shall tell me wdiere in the forest you live. 
Will you go ? 

Orlando. With all my heart, good youth. 



From The Merchant of Venice. 

Colloquy between Portia and Nerissa regarding the suitore. 

PORTIA. By my troth, Nerissa, my little body is aweary 
of this great world. 

Nerissa. You would be, sweet madam, if your miseries 
were in the same abundance as your good fortunes are ; 
and yet, for aught I see, they are as sick that surfeit with 
too much, as they that starve with nothing. It is no small 
happiness, therefore, to be seated in the mean; super- 
fluity comes sooner by white hairs, but competency lives 
longer. 

Portia. Good sentences, and well pronounced. 



FROM THE MERCHANT OF VENICE 383 

Nerissa. They would be better, if well followed. 

Portia. If to do were as easy as to know what were 
good to do, chapels had been churches, and poor men's 
cottages princes' palaces. It is a good divine that follows 
his own instructions ; I can easier teach twenty what w T ere 
good to be done than be one of the twenty to follow T mine 
own teaching. The brain may devise laws for the blood ; 
but a hot temper leaps o'er a cold decree. But this reason- 
ing is not in the fashion to choose me a husband. me, 
the word choose ! I may neither choose whom I w T ould, 
nor refuse whom I dislike ; so is the w T ill of a living 
daughter curbed by the will of a dead father. Is it not 
hard, Nerissa, that I cannot choose one, nor refuse none ? 

Nerissa. Your father w T as ever virtuous, and holy men 
at their death have good inspirations ; therefore the lot- 
tery that he hath devised in these three chests of gold, 
silver, and lead (whereof who chooses his meaning 
chooses you), will, no doubt, never be chosen by any 
rightly but one who you shall rightly love. But what 
warmth is there in your affection tow T ard any of these 
princely suitors that are already come ? 

Portia. I pray thee, over-name them, and as thou 
namest them, I will describe them ; and according to my 
description, level at my affection. 

Nerissa. First, there is the Neapolitan prince. 

Portia. Ay, that's a colt indeed, for he doth nothing 
but talk of his horse ; and he makes it a great appropria- 
tion to his ow r n good parts, that he can shoe him him- 
self. 

Nerissa. Then there is the County Palatine. 

Portia. He doth nothing but frown, as who should say, 
'An 1 you wall have me, choose.' He hears merry tales 
and smiles not ; I fear he will prove the weeping philoso- 
pher w r hen he grows old, being so full of unmannerly 
sadness in his youth. I had rather be married to a 



384 ADVANCED ELOCUTION 

death's head with a bone in his mouth than to either of 
these. Heaven defend me from these two ! 

Nerissa. How say you by the French lord, Monsieur 
Le Bon ? 

Portia. God made him, and therefore let him pass for 
a man. In truth, I know it is a sin to be a mocker ; but, 
he ! Why he hath a horse better than the Neapolitan's, 
a better bad habit of frowning than the Count Palatine ; 
he is every man in no man ; if a throstle sing he 
falls straight a-capering ; he will fence with his own 
shadow. If I should marry him, I should marry twenty 
husbands. If he would despise me, I would forgive him ; 
for if he love me to madness, I shall never requite him. 

Nerissa. What say you, then, to Falconbridge, the 
young baron of England ? 

Portia. You know I say nothing to him, for he under- 
stands not me, nor I him ; I think he bought his doublet 
in Italy, his bonnet in Germany, and his behavior every- 
where. 

Nerissa. How like you the young German, the Duke of 
Saxony's nephew ? 

Portia. Very vilely in the morning, when he is sober, 
and most vilely in the afternoon, when he is drunk ; when 
he is best, he is a little worse than a man, and when he is 
worst, he is little better than a beast. 

Nerissa. If he should offer to choose, and choose the 
right casket, you should refuse to perform your father's 
will, if you should refuse to accept him. 

Portia. Therefore, for fear of the worst, I pray thee, set 
a deep glass of Rhenish wine on the contrary casket ; for 
if the devil be within, and that temptation without, I know 
he will choose it. I will do anything, Nerissa, ere I will 
be married to a sponge. 

Nerissa. You need not fear, lady, the having any of 
these lords; they have acquainted me with their determi- 



FROM THE MERCHANT OF VENICE 385 

nations ; which is, indeed, to return to their home, and to 
trouble you with no more suit, unless you may be won by 
some other sort than your father's imposition depending 
on the caskets. 

Portia. If I live to be as old as Sybilla, I will die as 
chaste as Diana, unless I be obtained by the manner of 
my father's will. I am glad this, parcel of wooers are so 
reasonable, for there is not one among them but I doat on 
his very absence ; and I wish them a fair departure. 



386 ADVANCED ELOCUTION 



FOR HYMN READING. 



SAVIOUR ! I follow on, 
Guided by Thee, 
Seeing not yet the hand 

That leadeth me ; 
Hushed be my heart and still, 
Fear I no further ill, 
Only to meet Thy will 
My will shall be. 

Riven the rock for me 

Thirst to relieve, 
Manna from heaven falls 

Fresh every eve ; 
Never a want severe 
Causeth my eye a tear, 
But Thou dost whisper near, 

" Only believe!" 

Often to Marah's brink 

Have I been brought ; 
Shrinking the cup to drink, 

Help I have sought ; 
And with the prayer's ascent, 
Jesus the branch hath rent, 
Quickly relief hath sent, 
Sweetening the draught. 

Saviour ! I long to walk 

Closer with Thee ; 
Led by Thy guiding hand, 

Ever to be ; 



THE BREAKING WAVES DASHED HIGH 387 

Constantly near Thy side, 
Quickened and purified, 
Living for Him who died 
Freely for me ! 

Hastings. 



LEAD, Kindly Light ! amid th' encircling gloom, 
Lead Thou me on ; 
The night is dark, and I am far from home, 

Lead Thou me on ; 
Keep Thou my feet ; I do not ask to see 
The distant scene ; one step enough for me. 

I was not ever thus, nor prayed that Thou 

Shouldst lead me on ; 
I loved to choose and see my path ; but now 

Lead Thou me on ; 
I loved the garish day, and spite of fears, 
Pride ruled my will. Remember not past years, 

So long Thy power has blest me, sure it still 

Will lead me on 
O'er moor and fen, o'er crag and torrent, till 

The night is gone ; 
And with the morn those angel-faces smile 
Which I have loved long since, and lost awhile. 

Cardinal Newman. 



THE breaking waves dashed high 
On a stern and rock-bound coast, 
And the woods against a stormy sky 

Their giant branches tossed, 
And the heavy night hung dark 

The hills and waters o'er, 
When a band of exiles moor'd their bark 
On the wild New England shore. 



388 ADVANCED ELOCUTION 

Not as the conqueror comes, 

They, the true-hearted, came ; 
Not with the roll of the stirring drums, 

And the trumpet that sings of fame; 
Not as the flying come, 

In silence and in fear ; 
They shook the depths of the desert gloom 

With their hymns of lofty cheer. 

Amidst the storm they sang, 

And the stars heard and the sea ! 
And the sounding aisles of the dim woods rang 

To the anthem of the free ! 
The ocean eagle soar'd 

From his nest by the white wave's foam, 
And the rocking pines of the forest roar'd — 

This was their welcome home ! 

5jC rffjC 5|* ^£* rfj^ ^^ 

What sought they thus afar — 

Bright jewels of the mine? 
The wealth of seas, the spoils of war ? — 

They sought a faith's pure shrine ! 
Aye, call it holy ground, 

The soil where first they trocle ! 
They have left unstain'd what there they found — 

Freedom to worship God. 

Felicia D. Hemans. 



SOMETIMES a light surprises 
The Christian while he sings ; 
It is the Lord, who rises 

With healing in His wings : 
When comforts are declining, 

He grants the soul again 
A season of clear shining, 
To cheer it after rain. 



MY FAITH LOOKS UP TO THEE 389 

In holy contemplation, 

We sweetly then pursue 
The theme of God's salvation, 

And find it ever new ; 
Set free from present sorrow, 

We cheerfully can say, 
Let the unknown to-morrow 

Bring with it what it may. 

It can bring with it nothing 

But He will bear us through ; 
Who gives the lilies clothing, 

Will clothe His people, too : 
Beneath the spreading heavens, 

Xo creature but is fed ; 
And He who feeds the ravens, 

Will give His children bread. 

Though vine nor fig-tree neither 

Their wonted fruit should bear, 
Though all the fields should wither, 

Nor flocks nor herds be there ; 
Yet God the same abiding, 

His praise shall tune my voice, 
For while in Him confiding, 

I cannot but rejoice. 

William Cowper. 



MY faith looks up to Thee, 
Thou Lamb of Calvary, 
Saviour divine ! 
Now hear me while I pray, 
Take all my guilt away, 
Oh, let me from this day 
Be wholly Thine! 



390 ADVANCED ELOCUTION 

May Thy rich grace impart 
Strength to my fainting heart ; 

My zeal inspire. 
As Thou hast died for me, 
Oh, may my love to Thee 
Pure, warm, and changeless be, 

A living fire. 

While life's dark maze I tread, 
And griefs around me spread, 

Be Thou my guide ; 
Bid darkness turn to day, 
Wipe sorrow's tears away, 
Nor let me ever stray 

From Thee aside. 

When ends life's transient dream, 
When death's cold, sullen stream 

Shall o'er me roll, 
Blest Saviour ! then, in love, 
Fear and distrust remove ; 
Oh, bear me safe above, 

A ransomed soul ! 

Ray Palmer. 



AWAKE, my soul, stretch every nerve, 
And press with vigor on ; 
A heavenly race demands thy zeal, 
And an immortal crown. 

A cloud of witnesses around 

Hold thee in full survey ; 
Forget the steps already trod, 

And onward urge thy wav. 



ABIDE WITH ME 391 

'Tis God's all-animating voice, 

That calls thee from on high ; 
'Tis His own hand presents the prize, 

To thine aspiring eye. 

Blest Saviour, introduced by Thee, 

Have I my race begun ; 
And, crowned with victor}^, at Thy feet 

I'll lay my honors down. 

Doddridge. 



ABIDE with me ! Fast falls the eventide, 
The darkness deepens — Lord, with me abide ! 
When other helpers fail, and comforts flee, 
Help of the helpless, oh, abide with me ! 

Swift to its close ebbs out life's little clay ; 
Earth's joys grow dim, its glories pass away ; 
Change and decay in all around I see ; 

Thou, who changest not, abide with me ! 

1 need Thy presence every passing hour, 

What but Thy grace can foil the tempter's power ? 
Who, like Thyself, my guide and stay can be ? 
Through cloud and sunshine, oh, abide with me ! 

Not a brief glance I long, a passing word ; 
But as Thou dwell'st with Thy disciples, Lord, 
Familiar, condescending, patient, free, 
Come, not to sojourn, but abide with me ! 

Hold Thou Thy cross before my closing eyes ; 
Shine through the gloom, and point me to the skies : 
Heaven's morning breaks, and earth's vain shadows flee ! 
In life, in death, Lord, abide with me ! 



Lyte. 



392 ADVANCED ELOCUTION 

ROCK of Ages, cleft for me ! 
Let me hide myself in Thee ; 
Let the water and the blood, 
From Thy wounded side that flowed, 
Be of sin the double cure ; 
Cleanse me from its guilt and power. 

Not the labor of my hands 
Can fulfill the law's demands ; 
Could my zeal no respite know, 
Could my tears forever flow, 
All for sin could not atone, 
Thou must save, and Thou alone 

Nothing in my hand I bring, 
Simply to Thy cross I cling ; 
Naked, come to Thee for dress, 
Helpless, look to Thee for grace ; 
Vile, I to the fountain fly, 
Wash me, Saviour, or I die! 

While I draw this fleeting breath, 
When my eyelids close in death, 
When I soar to worlds unknown, 
See Thee on Thy judgment-throne, 
Rock of Ages, cleft for me ! 
Let me hide myself in Thee. 

Toplady. 



PRAYER is the soul's sincere desire, 
Uttered or unexpressed ; 
The motion of a hidden fire 
That trembles in the breast. 



MY COUNTRY ! 'TIS OF THEE 393 

Prayer is the burden of a sigh, 

The falling of a tear, 
The upward glancing of an eye, 

When none but God is near. 

Prayer is the simplest form of speech 

That infant lips can try ; 
Prayer the sublimest strains that reach 

The Majesty on high. 

Prayer is the Christian's vital breath, 

The Christian's native air : 
His watchword at the gates of death — 

He enters heaven with prayer. 

Prayer is the contrite sinner's voice, 

Returning from his ways ; 
While angels in their songs rejoice, 

And cry — " Behold, he prays !" 

Thou, by whom we come to God — 

The Life, the Truth, the Way ; 
The path of prayer Thyself hast trod ; 

Lord ! teach us how to pray. 

Montgomery. 



MY Country ! 'tis of thee, 
Sweet land of liberty, 
Of thee I sing : 
Land where my fathers died ! 
Land of the Pilgrims' pride! 
From every mountain side 
Let freedom ring ! 



394 ADVANCED ELOCUTION 

My native country, thee — 
Land of the noble free — 

Thy name — T love ; 
I love thy rocks and rills. 
Thy woods and templed hills : 
My heart with rapture thrills 

Like that above. 

Let music swell the breeze, 
And ring from all the trees 

Sweet freedom's song : 
Let mortal tongues awake ; 
Let all that breathe partake ; 
Let rocks their silence break, — 

The sound prolong. 

Our fathers' God ! to Thee, 
Author of liberty, 

To Thee we sing : 
Long may our land be bright 
With freedom's holy light ; 
Protect us by Thy might, 

Great God, our King ! 



S. F. Smith. 



SOFTLY now the light of day 
Fades upon my sight away ; 
Free from care, from labor free, 
Lord, I would commune with Thee ! 
Thou, whose all-pervading eye 

Naught escapes, without, within, 
Pardon each infirmity, 
Open fault, and secret sin. 



SOFTLY NOW THE LIGHT OF DAY 395 

Soon for me the light of day 
Shall forever pass away : 
Then from sin and sorrow free, 
Take me, Lord, to dwell with Thee! 
Thou who, sinless, yet hast known 

All of man's infirmity ; 
Thou, from Thy eternal throne, 

Jesus, look with pitying eye. 

Bishop Doa^e. 



39 G ADVANCED ELOCUTION 

FOR SCRIPTURE READING. 

For practice in the various forms of Scripture reading, the following-named 
chapters and parts of chapters are recommended. As everyone in this Chris- 
tian age is supposed to possess a copy of the Bible, it is not necessary that the 
portions to which attention is directed have insertion here. 

Judah's Appeal to Joseph. — Genesis, 44th chapter. 

Song of Moses and Miriam. — Exodus, 15th chapter. 

Dedication of the Temple. — I Kings, 8th chapter. 

The Parting of Naomi with her Daughters-in-law. — 
Ruth, 1st chapter. 

The Downfall of Haman. — Esther, 7th chapter. 

On the Brevity of Life. — Job, 14th chapter. 

Psalms, 23d, 38th, 55th, 90th, 95th, 103d, 121st, 139th. 

Proverbs, 3d, 8th, 11th, and 12th chapters. 

The Doom of Babylon. — Isaiah, 13th chapter. 

Christ's Sermon on the Mount. — Matthew, 5th, 6th, 
and 7th chapters. 

Parable of the Sower. — Matthew, 13th chapter, 1st 
to 30th verses. 

Parable of the Talents. — Matthew, 25th chapter, 
14th to 46th verses. 

Parable of the Prodigal Son. — Luke, 15th chapter, 
11th to 32d verses. 

Parting Words of Jesus. — John, 14th chapter. 

Paul's Defense before Agrippa. — Acts, 26th chapter, 
1st to 29th verses. 

Paul's Argument for the Christian's Hope. — Ro- 
mans, 8th chapter. 

Paul's Argument on the Resurrection. — I Corin- 
thians, 15th chapter. 

The Blessedness of the Redeemed. — Revelations, 22d 
chapter. N. 



LbA P '?9 



LIBRARY OF CONGRESS 



027 249 799 



